Dear List,
Interesting thread indeed! On this list or in any other vocal arena
we will not agree about the issues related to falsetto. A friend of
mine once said that when voice teachers hear the word falsetto- they
leave the room...screaming:)
As I have mentioned many times before from my own work with Reid,
his use of the falsetto is a matter of vocal function. And yes he
does place the falsetto range IN BETWEEN the chest and head
registers. Garcia did exactly the same thing in a diagram from Vol.
1 of his treatise. Garcia likened the falsetto sound quality to the
low tones of a flute, rather breathy or hooty. In my experience
with Reid, this is the way he wants his pupils to produce the
falsetto. From a pedagogical standpoint, this falsetto is useful
because it produces only slight medial compression and allows the TA
to relax in a pitch range where it would normally be active.
At times, we all want to fit current methodologies into historical
practices...and this is one area where that just will not work. To
speak on these issues it is probably necessary to be well aquainted
with the work of both Garcia and Reid in order to fully understand
their beliefs and speak on HOW they teach, not how we THINK they
teach. Better yet, check it out for yourself on 86th and West End
Avenue five days per week.
Please keep me in your thoughts and prayers...I'm in the heat of
preparing for my doctoral general exams- happening next week.
Thanks!
Take Care All,
Taylor L. Ferranti
Certificate of Vocology
DMA Candidate, Voice/Voice Science
Louisiana State University
Associate Director of Music
First Presbyterian Churh, Baton Rouge
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