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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