--- In vocalist-temporary@yahoogroups.com, "Lloyd W. Hanson"
<lloyd.hanson@n...> wrote:
> Dear john and Vocalisters:
>
> Your comments about the chest voice muscles and the head voice
> muscles are not correct. I could go into some details with you
about
> this but at this point is is perhaps best to emphasize that it is
> the vocal folds which produce the oscillation that is the driver
for
> a phonated tone (a tone as it emerges from the larynx) and it is
the
> quality of this phonated tone that is the source sound material
out
> of which the final resonated vocal sound is created through
resonance.
>. . .
> Mixing chest voice with head voice in some arrangement or other is
> often spoken of on this list but the reality is that the voice is
> merely in transition from thicker vocal folds to thinner folds.
One
> cannot be in a thick folds conformation and, at the same time, be
in
> a thinner vocal fold configuration. In that sense it is not
possible
> to mix chest voice and head voice. But it is possible to be
singing
> a given pitch, say in the upper middle of the vocal range, in a
> variety of conformations such as with slightly thicker vocal folds
> (chest voice sounding) or slightly thinner vocal folds (head voice
> sounding). But each configuration of the vocal folds in this
example
> is unique and they are not mixtures of each other.
> --
> Lloyd W. Hanson
>
>
Lloyd,
I absolutely agree with what you are saying about the muscle
groups. I usually don't use that terminology - but I did in an
effort to clarify what I was saying.
What I am talking about refers more to what the singer
psychologically "feels" is "controlling" the voice. I think most
people have two distinct mechanisms for producing any pitch. Within
these two mechanisms that control the pitch, I think it is possible
to shade the color of the voice in an infinite number of ways.
Within the mechanism that most easily creates a "light, soft" sound
it is possible to focus the tone in such a way that qualities of the
other mechanism appear to be added to the tone - yet the singer
senses no "switch" to the other mechanism. On the other hand, it is
also possible to make the other mechanism that generally creates a
loud, heavy sound to sing tones that are soft and light, yet the
singer senses no "switch" to the other mechanism. I think it is
preferable to use the first scenario that I mentioned in this
paragraph rather than the second.
Well, that's described differently. . . John
|
