I couldn't agree more with Lloyd here. In particular, this issue reminds me of a young student at my undergraduate university who so impressed the faculty and the student body with his absolutely lovely high range as an entering freshman. However, it was not long before the voice began to mature and it became apparent to everyone that this young tenor was in actuality a young baritone with an incredibly beautiful supported falsetto, taking him up to high C and beyond. He has since made a solid career in contemporary Christian music where he continues to sing in this manner. In the same way, I chuckle to myself everytime I hear the non-falsetto countertenor argument espoused - I ask myself: if this isn't falsetto, where is the dynamic and color variety?
On a side note: Lea Ann - stop and think a moment here! If you are having technical problems in your upper range that are giving you a sore throat, then perhaps you should quit vocalizing so high. Why ingrain technical problems that are difficult to break when you are currently without the services of a teacher? From your posts, I have assumed you are a young singer - lay off the high As. Get your upper middle voice down before you worry about the top. Do that and the top will be a snap.
Mark
P.S. mike - 'm' and 'b' both have similar nasal qualities. 'b' begins with a similar sound, except it helps to raise the soft palate.
On Sat, 30 Mar 2002, Lloyd W. Hanson wrote:
> as head voice. Any singer who can do both head voice and supported > falsetto will tell you there is a world of difference between these > two completely different vocal functions.
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