{"id":4078,"date":"2016-11-26T08:59:50","date_gmt":"2016-11-26T12:59:50","guid":{"rendered":"http:\/\/www.rockwellblake.com\/blog\/?p=4078"},"modified":"2016-12-04T07:47:59","modified_gmt":"2016-12-04T11:47:59","slug":"everything-happens-for-a-reason","status":"publish","type":"post","link":"https:\/\/rockwellblake.com\/blog\/2016\/11\/26\/everything-happens-for-a-reason\/","title":{"rendered":"Everything happens for a reason."},"content":{"rendered":"

I believe that things happen for a reason.\u00a0\u00a0Although this tenor started trying to answer the question\u00a0Hal David asks\u00a0Alfie<\/a>\u00a0long before he wrote his lyrics,\u00a0I haven’t found all the answers. \u00a0I expect Alfie and the rest of humanity to come up short in their ability to consider all things<\/a> and give a perfect summation.\u00a0 I wish we could all agree that we suffer this limitation, but that is not our lot in life, and I know that there are only a few who share my first statement of faith.\u00a0 To say: \u201cThings happen for a reason.\u201d is to say that meaning exists.\u00a0 Heady stuff for a tenor, don\u2019t you think?\"capture\"<\/p>\n

OK, since a tenor would certainly risk a migraine by trying to understand everything, I\u2019ll save myself that pain in the brain\u00a0by dialing back my focus to my last couple of days inhabiting the above\u00a0location: Latitude: 44.718231 and Longitude: -73.403633<\/a>.<\/p>\n

\"garcia-page\"<\/a><\/p>\n

It was only a few days ago that I made my first reference to the above page on the internet and added a few comments to the following page:<\/p>\n

 <\/p>\n

\"annotations\"<\/p>\n

The text is a little hard to read in the image above, so here it is again, if you don’t want to visit that page to be able to read it:<\/p>\n

On these pages we have an extended analysis of the phenomena Falsetto<\/a> and Chest Voice<\/a> as they were understood before Garcia came along to add to this discussion the conclusions he derived from his own research.\u00a0 There is a really important facet to this \u201cpreamble\u201d to Garcia\u2019s method.\u00a0 Falsetto and Chest Voice were very well recognized as distinct vocal products.\u00a0 There was no consensus as to their mechanical production, but no one had to be instructed in how to recognize these phenomena.\u00a0 Sadly, I see confusion<\/a> everywhere today<\/a>.<\/p><\/blockquote>\n

When I completed these chores,\u00a0I started cleaning up my email and tripped over the following\u00a0missive.\u00a0\u00a0I\u00a0keep the identity of my correspondent and his location anonymous with fantasy names.<\/p>\n

Dear Maestro Blake,<\/p>\n

I’m the younger tenor of \u201cTwilight Zone\u201d. I write to you in order to inform you about my situation and conditions. With my teacher I’m studying Dalla sua pace and I confess I have some problems. At first the teacher told me that I must study the aria “with ‘voce piena’ because today even lyric tenors not only leggero tenors sing Don Ottavio”. So I sing with “voce piena”, but, altough I succeed in singing the first two G, when I’m singing “quel che le incre-E-SCE”, when I should sing F, I find this passage very difficult. The throat closes by itself. I don’t know what I should do. I remember your advices in \u201cTwiliteZone\u201d, I remember you spoke about falsetto and I read on your site that you say about falsetto in relation to Una furtive lagrima. Falsetto is very very important, so I don’t understand why my teacher forbids me to use it. He says “With falsetto singing, orchestra covers you”. I cannot believe it and all people who would like to teach me to sing tell me the same thing. So, according to them, is better that I sing like a slaughtered capon; and according to them, I cannot lower the tone because “in theater never could you make this [singing in falsetto] because the conductor wants the right tone”. I’m desperate. I run away from this people and still do not have a teacher. I would like to come in \u201cMasterClassVille\u201d, but it’s impossible to me. I hope to find a real teacher as soon as possible. According to you, what should I do?<\/p>\n

Thanks!<\/p>\n

“Ottaviohopeful”<\/p><\/blockquote>\n

I answered this email a long time ago, but here it was again screaming at me to answer it,,, again.\u00a0 Everything conspired to suggest this blog.\u00a0 There is a reason things happen and the best answer I can muster to this young man’s email I will put in full view of anyone who wants to know what this argument is all about.\u00a0 I know, I know, no tenor can know all that there is to know about anything, but this website is about this tenor presenting the content of his mind, and what\u2019s contained between my ears will certainly not tax the internet\u2019s storage capacity.<\/p>\n

Composers of the ancient past often had to improvise when they faced unfortunate cast members.\u00a0 Rossini cut the tenor aria in the first act of SEMIRAMIDE when he got to know John Sinclair, his first Idreno.
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