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From:  "mjmoody2000 <mjmoody@c...
Date:  Sun Jan 12, 2003  2:29 pm
Subject:  Re: RE:Head voice from falsetto>Some more information about me and my voice.

Nicolas,

I believe in this falsetto method. The idea here is to work on
bringing your falsetto DOWN and developing "strength" in some areas
of the falsetto range that initially feel very weak, breathy, and
unusable.

First use single note exercises starting at the G or A above middle
C in falsetto and go down as low as possible. The idea is to
eventually overlap your entire range with the falsetto controlled
voice.

Then take five note descending scales starting on the G or A above
middle C then working down the scale as mentioned above.

Then take single notes and use crescendo and diminuendo exercises.
Hopefully, you will eventually begin to crescendo the note to such a
degree that you sense a timbre shift. This is when the chest voice
is actually being added to the tone (but in a different way
than "switching" to the chest voice).

Then try crescendoing and diminuendoing on the top note of the five-
note descending scale, but singing the four remaining notes in a
softer, more falsetto-based manner.

Eventually, with this method you can "transform" your voice where
if "feels" like you are creating all your tones in the same manner.
This takes many years of work, however.

That is the basic philosophy of the "falsetto-based" approach. Look
in music libraries in your area and see if there are any
publications by "Anthony Frisell." "The Tenor Voice," "The Baritone
Voice," and "The Soprano Voice" all document these ideas pretty well.

To adopt this approach you have to be working on blending the
falsetto quality with you chest-voice quality. Therefore, working
on the "soprano-like" quality of your falsetto isn't really that
helpful.

Also, another comment: I find that people have vastly different
ideas on what "falsetto" is. The more blended the registers become,
the easier it is to be confused as to what is what. I hypothesize
that the singers with better blended registers to begin with are the
ones that stress avoiding the falsetto the most. This is because
their own voices blended into a useful mixture with little or no
effort. "Falsetto" then becomes "hard to find." This is just an
idea I have that isn't really supported by anything - therefore I
believe it strongly!

Lastly, listen to the end of "Some Enchanted Evening" sung by Ezio
Pinza. What is he doing? Listen to almost anything by Gigli. What
is he doing? How are those really soft high tones being produced by
Thomas Hampson?

John Moody





  Replies Name/Email Yahoo! ID Date  
21858 Re: Head voice from falsetto>Some more information about me and my vLloyd W. Hansonlwh1 Sun  1/12/2003  
21860 Re: Head voice from falsetto>Some more information about me and my vmjmoody2000 <mjmoody@c...>mjmoody2000 Sun  1/12/2003  
21861 Re: Head voice from falsetto>Some more information about me and my vmjmoody2000 <mjmoody@c...>mjmoody2000 Sun  1/12/2003  
21862 Re: Head voice from falsetto>Some more information about me and my vMichael <chosdad@y...>chosdad Mon  1/13/2003  
21916 Re: Head voice from falsetto.(Some more questions).iacmf <iacmf@y...>iacmf Tue  1/14/2003  
21920 Re: Head voice from falsetto.(Some more questions).Michael <chosdad@y...>chosdad Tue  1/14/2003  
21924 Re: Head voice from falsetto.(Something i forgot to mention.Really iiacmf <iacmf@y...>iacmf Tue  1/14/2003  
21925 Vowel Modification and Head VoiceMichael <chosdad@y...>chosdad Tue  1/14/2003  
21929 Re: Vowel Modification and Head Voice(To Mr Gordon)iacmf <iacmf@y...>iacmf Wed  1/15/2003  
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