> More on a quasi-falsetto in Wagnerian sopranos: can
> I just say that the
> marvellous Deborah Voigt had not a trace of it
I like the term "quasi-falsetto" for what the
technical purists call "pure/unsupported head tone."
When I sing (in that flipped, high breathy little-girl
tone), I call it falsetto because it feels like a
different technical method than singing in head voice.
I can not, for example, crescendo this type of tone
without a big ugly yodel break (followed by a sudden
leap in volume as I find myself in regular old head
voice). It feels just the same as when, an octave or
two lower, I make the big ugly break between head and
belty chest voice.
I know that tenors can train their voices to mix and
switch without a preceptible break -- so a tenor can
begin a note in falsetto, swell it into full voice,
and you'll never hear the difference -- but I've never
trained my falsetto, and only use it for effect (when
I need a pianissimo on a high note, say a B or C, that
I can't manage the "real" way). I consider it
cheating, though.
I suspect that the female voice has three registers
(chest, head, falsetto). Not knowing what whistle
register is or how it is produced or feels, I
acknowledge that there may be in fact four registers,
including whistle.
I know that my perception of these registers has been
rebuffed by the graph-and-spectrum school of vocal
pedagogy (Lloyd or someone, doesn't Miller disregard
the female falsetto?), but what I feel is what I got.
Isabelle B.
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Isabelle Bracamonte
San Francisco, CA
ibracamonte@y...
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