Hey Mike,
How are you? Just a little note to say I am back from Europe. Hope all is going well with you.
Chris ----- Original Message ----- From: Greypins@a... To: vocalist-temporary@yahoogroups.com Sent: Sunday, July 15, 2001 9:11 PM Subject: Re: [vocalist] Re: falsetto (was lower register)
In a message dated 7/15/2001 2:19:48 PM Eastern Daylight Time, w.ritzerfeld@c... writes: w.ritzerfeld@c... writes:
<< The female 'pop' voice indeed seems to be close to the (use of the) male voice in that it involves either a lighter extension of chest voice (again I personally would't call it a mix), similar to that of a light tenor OR a raising of the larynx, which inevitably leads to belting (and which by the way can be a legitimate choice IMO). >>
wim,
i agree that it does seem odd to call it a 'mix'. i would perceive it as an extension of my 'chest' voice by stretching rather than stiffening. when i sing in falsetto, that does feel to me as if i am doing something completely different and, if i try to make a seamless transition into chest voice, it does seem as if i have to make a change from one system to another rather than just extending the one i'm in as in the former.
in singing the same pitch in my 'regular' voice and then in falsetto, the perception of placement seems to be different (less so than it once seemed). i have often had my students do this. then i would have them sing in their 'regular' voice while imagining an echo in the place they heard their falsetto. it can be effective in getting rid of breaks in female voices and making male voices more resonant. obviously, this appears to be a 'mix' and, to most people, that might be a sensible description.
in doing the above exercise, i never tell a singer where they will sense the placement of either of the voices. when i have asked where people feel the falsetto, i have gotten all sorts of answers. the usual one is 'in the mask' though,some say at the top of the back of their heads, some say 'in their ears', others will say 'falsetto at the top of their throats and chest at the bottom of their throats. some sense the falsetto below the chest voice (i, for one) and some hear the two pronouncing words differently. one girl said she heard her 'regular' voice in her left ear and her falsetto in her right ear. i told her to sing in both ears and the desired effect was achieved (i did warn her, if she ever became a voice teacher, not to run around telling everyone to 'sing in both ears').
this current discussion and the one we all had at the end of 2000 on the same topic, seems to point up the dilemna of what we perceive as happening vs. what is actually happening. working on our voices based on what we perceive to be happening seems to be unsatisfactory as everyone seems to perceive everything differently yet, going on what is actually happening seems also unsatisfactory as there is so much that is unknown, especially to most people and, more importantly, it seems so difficult to have a real feel for what is actually happening.
mike
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