"Nicholas Scholl" <res0kli9@v...> wrote:
> Also, pure falsetto...has little aesthetic value.
Isn't that a little classical-music-centric? There are many singing
traditions that were not developed around projecting the voice over a
large instrumental ensemble. In such traditions, pure falsetto may
serve an artistic purpose.
> Therefore, by definition, countertenors today and forever have used
a bastardization of the Head voice.
I don't consider my countertenor voice a bastardization. I think
there may be a value judgement in your statement somewhere. If it
works, why is it a bastardization? When I use a mezzo's
registrational strategy, I have better control, have a larger range,
can sing louder, and am generally more comfortable than if I use a
tenor's registrational strategy.
I could see what your point if I were casting aside a gorgeous,
glowing and seamless tenor/baritone/bass voice to sing alto, but I'm
not! :-)
> It is one that is primarily falsetto-based, of course, with some
sort of individualized constriction of the chest register active in
the sound.
Would you please clarify this statement? I'm wondering what you mean
by "individualized constriction of the chest register." It is
interesting to me. Thanks!
Tako
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