Ses eğitimi ve süper kulak!

Ne kadar alcakgönüllü bir insanmıssın sen

Küçük bir yanılgın var, sesler sadece gırtlak ve kafa sesi olarak ikiye ayrılmıyor... Bu konuyla ilgili, ilgilisine baska bir foruma, cok sevdigim bir arkadas tarafından gönderilmiş bir yazıyı alıntılıyorum sakıncası yoksa... Zaten o da alıntılamış. Türkce' ye cevirmediğim icin özür dilerim, zamanım olsa da ugrasmazdım zira mesleğim değil bu iş, sakıncası varsa silinebilir...


Ytsejam Digest'te gördüm. Belki merak edeniniz olmuştur...



Question: What is the difference between "head voice" and "falsetto"? Do
women have a falsetto?

Answer: Although many people use these terms interchangeably, they are both physically different processes that occur within the larynx.
Both men andwomen have a head voice as well as falsetto.
During speech, the vocal cordsnaturally adduct and vibrate at their full length.
When a singer ascends from their speaking chest voice into their head voice, the vocal cords shorten in vibrating length as sound waves begin to travel more and more behind the soft palate, resonating in the head cavity. When done correctly there is no sudden shift in tone production because the vocal cords are staying adducted while the singer crosses the bridge into their head voice.

Falsetto is the maximal elongation of vocal cords with minimal glottic gap.
It can be produced at almost any frequency, but is mostly produced in the
upper range for both male and female voices.
It is the uncontrolled breathy or whistly sound that results from the vocal cords separating and most often occurs when a singer has not learned to coordinate their vocal cords to stay closing between registers.
As a result, too much air forces the vocal cords apart, creating a "break."
During falsetto the vocal cords are actually bowed apart and are unable to blend with chest voice, making it impractical to use except for special vocal stylings. While falsetto is sometimes used for style (such as in yodeling), most of the time it either occurs
accidentally or as a stylistic means to disguise the singer's inability to
coordinate their vocal cords between registers."

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Vocal Fry - the rattly, scrapy sound that occurs when your vocal folds are
in the "singing" position, but you only apply enough air to make the
aforementioned sound. (If you try to support this sound, it just kind of
magically turns into head voice. Try it.)

Chest voice - in the most elementary of terms, singing in the normal
speech range. Called chest voice because the primary resonating cavity is
the chest.

Head voice - Head voice occurs when, during phonation, you adduct your
vocal folds. That is, you sort of close the gap in them, but not all the
way and only from one side...as if you were zipping them up with a zipper.
The physics of this is akin to fretting a guitar string - the part that's
still vibrating is shorter, and thus, the pitch is higher. Called head
voice, obviously, because the main resonating cavities are in the head
(sinuses, mouth, etc.).

To do this requires what is known as subglottic pressure. This is caused
by feeding a LOT of air up through your throat, and at the same time using
your vocal folds to keep a majority of the air IN.
This is what I think of when someone uses the word "support." This technique is pretty elusive, and not a lot of teachers know how to describe it. Most just throw around
the word "support" as the key to solving all vocal problems, but don't
even begin to touch upon what it means.

Falsetto- Falsetto is like trying to do head voice without support. In
fact, when you're singing in chest voice and try to go too high without
supporting, your voice cracks into falsetto. However, if you know where
your resonances are, you can make this register very usable.

Whistle Tones - Whistle tones occur when your vocal folds are SO taut and
you're using SO much air that as it passes through the opening in your
folds, it actually whisles. Incredibly hard to achieve, nigh-impossible to
control. Mariah Carey, in her early career, seems to have done a good job
of it, though.

Then, of course, you can "mix" registers...some pedagogs will call those
different registers, some won't. At that point, it doesn't matter.
(Personally, I think that the mixed registers are enough one register or
the other, that to call them new registers would really be a misnomer.)

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I think that the main thing about head voice is the concept of subglottic pressure. The thing that keeps head voice from sounding like falsetto is the pressure you keep up (underneath the vocal chords, mind you) with the diaphragm. To sing in head voice requires an insane amount of air, whereas to sing in falsetto takes very little air at
all-- just enough to keep the vocal chords vibrating at frequency, to be
exact. This is probably the main difference between the two registers,
and it makes a world of difference. The reason is that as the vocal
chords get shorter (like a guitar string) they must vibrate at higher
speeds, which takes more air. Since with falsetto the chords actually get
LONGER as you go higher (it's like harmonics on a guitar, almost), it
actually requires less air.
.......

 

Muhtesem bir tespit; amma velakin o aptal sarkıyı yanlıs notadan söylemeye baslarsak ne olacak?

La sesini alman icin telefonu acman kulagını ahizeye dayaman yeterli, atraksiyona gerek yok :lol:

 

Bukadar perfect pitch den bahsediyosak gitarist arkadaşlar www.buzzfeiten.com a bir göz atın gitarda mükemmel entonasyon için. Beni tabiri caizse entonasyon sapığı yapan sistem.

 

verdiğiniz bilgiler gerçekten faydalı teşekkürler.bi de bana bi konuda yardımcı olursanız sevinicem.ben şan eğitimi almak istiyorum ankarada güvenilir bildiğiniz bir eğitmen varsa yada tavsiyelerinizi iletirseniz sevinirim.çünkü okadar para verip bilinmedik birine güvenmek pek mantıklı gelmiyo.

 

Siz absolute kulak tartışması yapıyorsunuz bir nevi...
Seslerin beyine girmesi iyi bir haşır neşirlikle bir kaç aya 4-5 katlanmış aralıkta dahi mümkündür...
Ama öte yandan çit,çıt eden duvar saati,masaya vuran kalem,egzostan çıkan ses,kırılan şişe sesi gibi frekansı çok eğreti olan seslerin notalarını kestirmek absolutelüğün temel taşıdır...
Kimisinin sesler ezberindedir,zamanında çocukken edindiği ama haberi olmadığı seslerin adını 2-3 güne genelde piyano olan enstrümandan koyar,kimiside belli zamandan sonra koyar...
Ama bu tip insanlar rock vb. camialarda kesinliklen bulunmaz,mutlaka konservatuarda pişmesi gerekir...
Piyanoya alışan kulak aynı oktav grubundan örneğin C4'ten vurulan distorsion gitar notasını veremez,istisnalar hariç...
Ama 2 enstrümanlada akraba olan insan bu işi yapabilir rahatlıkla...
Değinilmesi gereken 1 ince nokta daha var...
Lâ sesinin frekansının saniyede 550 titreşim olası lazım A5'te,yanlış hatırlıyor olabilirim,her neyse değinmem gereken konu bu değil tam olarak,A5 piyanodan süzülürken kulağa A5 Marshall amfiden gelen ses aldatıcı olur,amplifikatörün frekansından süzülerek kulağa geleceği için notanın piyanoya nazaran karakteristiğide deişmiş bulunur,telin titreşiminden ziyade amfideki "Hz" kalitesi kulağı aldatır...
Lâ oldu piyanoda olmayan comalı ama garip bir ses...
Hangi enstrümanın ses rengine alıştıysa kulak o enstrümandan alınan rengi tanır,genelde böyledir insan beyni...

 

bu işte müzk bilgisi kulağı çok önemli arkaddaşlar