Mike:
First, may I ask that you get rid of the term "model". It is a term
developed by voice scientists to describe the average speaking voice
range and has little to do with the singing voice because, in
singing, the voice is used with greater intensity than in normal
speech, with greater time extension of the vowels, and with a pitch
range that is significantly larger. Some singing voice scientists
used the term model when it was first introduced (Vennard , for one)
but the trend has been to avoid its use when speaking of the singing
voice.
The fact that a well trained classical singer is able to give the
impression that his head voice is merely an extension of his chest
voice is just that, an impression. It is the purpose of all
classically trained singers to strengthen the head voice, once it is
established, such that it resembles the chest voice enough to create
this effect.
But the head voice displays a different vocal function than is
displayed in chest voice. Falsetto displays yet another vocal
function. These vocal functions have been well documented for many
years.
What you refer to as a "resonance scheme" implies that chest, head
and falsetto singing do not display unique and different vocal fold
functions but are merely examples of different resonance effects.
Although resonance has a most pronounced effect on the vocal folds it
does not negate the individual vocal fold function that is
represented in chest, head and falsetto. Vocal fold function in head
voice is most definitely unique and different from vocal fold
function in chest voice. Falsetto is yet again different.
Head voice is not merely a stretching of the vocal folds as compared
to their length in chest voice. Stretching the vocal folds as found
in chest voice will raise the pitch of the chest voice but a limit to
such stretching is quickly reached and the vocal folds must make some
major and often difficult changes as the pitch raises above this
limit. The thickness of the folds must change but most importantly
the muscles that make up the vocal folds (vocalis muscle) must began
to relax and allow the vocal ligament and mucosal covering of the
ligament to become the primary source of oscillation. This transfer
of longitudinal tension within the vocal fold from the vocalis muscle
to the vocal ligament is the deciding factor in the difference
between chest voice and head voice and is, most definitely, a change
of vocal function. Although some singers display this skill rather
early, for most low voice singers it is a later development and often
acquired only after a lot of concentrated practice withthe guidance
of a good teacher.
I do think it is accurate to say that head voice is not required for
a majority of non-classical singing and consequently it is a skill
that few non-classical singers display nor seek to learn. If one
considers also that non-classical singing does not require the
extension of vocal range that is common in classical singing it is
logical that head voice would not be as necessary.
--
Lloyd W. Hanson
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