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Musical Theatrevoices

vjvj Posts: 3Pro
Hi I´m pretty new hear. I work as a musicalartist and liked the idea that KTVA teaches. 
I´m schooled in classical musical theatre and find that there simularities in the techniques.

I just wonder if you find your technique/approach good for classical musical theatrevoices. 
For example if you listen to Colm Wilkinson or Ramin Karimloo.
What do you think of their voices and do you find them using the same principals that you are?

Comments

  • 5 Comments sorted by Votes Date Added
  • highmtnhighmtn Posts: 10,879Administrator, Moderator, Enrolled, Pro

    @vj,

    I just took about 30 seconds to listen to Colm Wilkinson in the clip above (I was just going out the door when I answered your post earlier and have been on the road all day).

    He's modifying and substituting vowels.  He's very good at it, and because of that, it's not so noticeable. 

    Notice all of the AH's he subs in there, and instead of "I" as in hit, he substitutes "eh"...  like I said, he's an artist.

    Ken is showing us newbies how to do it, and you often have to exaggerate examples and then when you become more of a master, you incorporate those techniques in a more subtle way. 

    If I can hear that much in a few seconds, I doubt he stops later.

    He's a great singer, and I'm glad you brought him up as an example.  I like this version of Tennessee Waltz almost as much as l like Eva Cassidy's version.  They both convey convincing emotion.

    Don't be fooled by their artistry.  They're pro's and they know how and why to modify.

    : ^ )

    Bob

  • highmtnhighmtn Posts: 10,879Administrator, Moderator, Enrolled, Pro

    I haven't studied these artists enough to see what if any modifications they use. 

    They are, however, quite articulate, and that is appropriate for the style and intent of theater.

    There are legitimate reasons for differences in usage of consonants, vowel modifications, vowel substitutions, etc.

    In many cases it is a question of style, and sometimes beauty, both of which can be in the eye (and ear) of the beholder.  Some rock and even opera would not be very popular in the style of musical theater.  Some musical theater would not be very popular in the style of country, pop, rock, opera, or other modes. 

    Ken's methods center around Bel Canto, and have roots in perceived vocal beauty and healthful, safe modes for the voice. 

    The world is a big enough place to accommodate many styles and tastes, and as long as they are done safely, we all can like whatever floats our boat and have our own preferences.

    I think these artists are just that: Artists, and good ones, to boot.  Their style does not negate other styles, nor do other styles negate them.  Good is good. These two have wonderful voices.  They have studied a lot.

     

    Bob

     

  • highmtnhighmtn Posts: 10,879Administrator, Moderator, Enrolled, Pro
    edited July 2014 Vote Up1Vote Down

    @johnjohn,

    What a talented and skillful singer Eva was.


    Bob

  • highmtnhighmtn Posts: 10,879Administrator, Moderator, Enrolled, Pro

    @vj

    There are others here who are also interested in musical theater.

    KTVA principles do apply. Your voice will grow...  and grow...

    You mean like this?

    http://www.youtube.com/watch?v=yoUb_v6jUgs

    or this?

    http://www.youtube.com/watch?v=AeWIV1cFohs

    I believe your KTVA training will put you in a much better place to pursue your musical theater goals.

    Welcome, vj

     

    Bob

  • To me these two are two of the best singers ever due to their ability to also articulate an actually pronounce the words! I some time find Kens technique "changing" the words to fit the technique! What's your thoughts on that?
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