I sometimes get to hear a local musician/singer who when singing solo is incredibly audible without sounding loud or 'operatic' and can clearly be heard 'through' rather than 'over' a community choir that she directs at rehearsal. I end up thinking physics. My hunches include: putting the energy into the harmonics that are most audible in that acoustic environment ? Putting the energy into a very narrow frequency band ? Precise and prompt shaping of the volume and frequency profile as the tune moves from note to note ? Note by note intonation choices ? Certainly getting the vowel sounds and enunciation spot-on, but the last is not relevant to fluting.Terry McGee wrote:My understanding of the terms is that projection is making yourself more audible at a distance than your loudness would normally achieve.
Working the environment acoustics and the listeners psycho-acoustics. On top of all the diaphragm support stuff etc. I'm guessing that, whatever it is, it is what the Kevin Crawfords of this world do also.
I don't believe this singing to the moon stuff any more than I believe that long tones work by magic - even if they seem to do just that.