JimLucas Posted May 19, 2004 Share Posted May 19, 2004 Dave Elliott made the following comment in the Baritone Anglos Topic, but with my response I feel the subject has the potential of a separate Topic, so here we are. I think that you either need a very strong/distinctive voice to sing against an instrument in your own pitch, or you need to use the octave separation to avoid a muddy tone. Depends a lot on the details of the accompaniment... and on how loud you play. If you're doubling your voice exactly on the concertina, it's harder to be heard. But a voice that isn't doubled stands out as a separate musical "voice". Doubling up an octave or even two (e.g., on a treble English) seems to work for low (male) voices, as does doubling an octave up (on a treble) or down (on a baritone) for high (female) voices. In my experience, doubling a baritone or bass voice down an octave rarely (I won't say never) works, but I think that's mainly because it's difficult to play a melody in such a deep range without it seeming muddy and oppressive, regardless of whether it accompanies singing. Having said all that, I do sometimes double my voice exactly, and it seems to work if I'm not too deep in my vocal range. Another way of getting your voice to stand out is to have the durations in the accompaniment differ from those in the voice, e.g., as sustained chords, or staccato notes. Quote Link to comment Share on other sites More sharing options...
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.