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From:  "Michael <chosdad@y...
Date:  Fri Jan 24, 2003  9:57 pm
Subject:  Re: Cornelius Reid teaching (and Garcia)

Dear Taylor, Katherine, and List:



--- In vocalist-temporary@yahoogroups.com, "taylor23ferranti
<taylor23f@h...>" <taylor23f@h...> wrote:
(quoting Katherine):

> >He teaches two registers, falsetto and chest, that MERGE TO
> > BECOME THE HEAD VOICE. In Cornelius' teaching, head voice is a
> > product of a coordinative relationship.

(Taylor)
> Yes, I agree entirely with these statements. Like Reid, Garcia
> considered the head register to be an upward extension of the
> falsetto register, but with certain differences that justified a
> separate name.

If, according to Reid, falsetto and chest merge to become "head
voice" - then how is "head voice" distinguished from what Reid terms
the "feigned voice"? And, why does Reid (in previously referenced
pages/diagrams) label the range above F5 (above tenor high C) "pure
falsetto" if it is "head voice"?

I can surely attempt an explanation myself, synthesized from what I
have read from various books and posts here, but my point is that
Reid is inconsistent.

Further, how can one support on a physical basis Reid's theory
of "universal" registration (that all voices have the same
registration transitions on the same absolute pitches) when the
physical dimensions of the vocal folds can vary more than 60%? Does
it make physical sense that the pitch at which a bass with relatively
long/thick vocal folds transitions to a lighter registration is that
same pitch as for a light soprano with naturally shorter/thinner
folds?

Cheers,

Michael




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