between two lines of the staves of the Bach cantatas for high, hidden behind an eighth, I read an inscription written on the CD: "According to a German theological tradition, the use to halt the expression itself symbolizes the holy spirit (Th. Seedorf). " And I remember what I said a few years ago, Tinet, my favorite among directors, when tested the tessitura of the people in the choir, and to my fear of being transplanted to the rope of sopranos, looked into my eyes and said, smiling: "You can sing with them, but I will not spend because you contralto soul." Soon after, a vocal technique workshop, I invited Professor to leave the technic and sing with the soul because "You are the voice of jazz and tango" .
And you see that song live and without much art, and I, of course, coral life, not worth to solo. And so goes by and talk in a serious frame of mind, difficult to tune melodies, unpredictable off-set, but providing accurate notes to complete the line, because the composers, when they are lacking adjustment, put the note to the altos, without courtesy, and we must give it good because without it there is no whole. Other times, it's time. Sing a setback, to give importance to other voices, or to compare other tunes, or silence when voice sounds, and singing long notes of others, without highlighting. And so, if only I look at my staff, nothing makes much sense. But open your eyes, I see the whole system and understand and feel that harmony depends on my pitch.
So sometimes I neglect the free edge, or invention vocals where there were none before, or improvise a rhythm from the bowels to accompany myself. It's my revenge, to play to creativity. Feel free to sing without accompaniment, or be accompanied.
And I'm happy to be a contralto soul, though I see a dove.
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