Lloyd Hanson wrote :
<< However, even after the student has acquired the skill of falsetto
singing and been able to extend this falsetto voice into the upper
regions of the chest voice (as low as A immediately below middle C) ...>>
It can even be as low as E below middle C! I doubt whether singing as low as
possible in falsetto can develop any specific quality in one's singing, but
it is still possible. After all, some female singers who ignore or refuse
the "chest" mechanism also go to such low notes in head voice!
<< ... there is still the problem of having to switch from falsetto into
either chest voice or head voice (depending on the pitch at which the
switch is attempted). At the moment of that switch most students
experience a disheartening failure and many voices will actually
"crack" as they make this transition. Such failures or inductive
"cracks" are not of much help to the student because they do not
teach the voice how to make the gradual transition from
Thyroarytenoid muscle emphasis to Cricothyroid muscle emphasis.>>
In my experience, the cracking experienced while going UP a scale is much
more "disheartening". It is the kind of bad experience that a young singer
often gets at the beginning of his studies or while he tries to sing without
a teacher. Singing a descending scale from falsetto is a much easier way to
achieve a smooth transition from the lightest to the heaviest of mechanisms.
As you write, falsetto is a way to get accustomed to singing easily in a
range that would otherwise be associated with constricted throat and painful
voice production which become a kind of self fulfilling (sp?) prophecy, as
Karen underlined in a recent message.
| Alain Zürcher, Paris, France
| L'Atelier du Chanteur
| http://chanteur.net
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