Dear Lloyd,
It is always a pleasure to read your descriptions - so clear!
BUT... I don't fully agree with your "1 passagio for men, 2 for
women" idea. I do believe this phenomenon exists in *practice*, but
that it results only partly from sex physiology. The other factor is
traditional operatic training.
As a countertenor, I have 2 passagii, just as a classically trained
woman does. Most mezzos (and I) will tell you that the experience of
passing through these two zones is different. The lower one is akin
to a gear change, while the higher feels like a negotiation of
changes in resonance. Of course, there are exceptions (male and
female) with people who never feel the lower gear change. My middle
voice spans about an octave, similar to that of contralto, no?
Am I mechanically different from other men? I doubt it. When I choose
to sing like a "regular" guy, my 1st passagio gets much higher, but
it actually becomes almost impossible to cross the 2nd. The "regular
guy" sound tops out at about C#5. I believe the virtual non-existence
of the 2nd passagio for men is not purely a morphological issue. The
traditional tenor sound and technique makes notes above high C very
difficult if not impossible to achieve. The technique precludes safe
passage across the 2nd passagio.
Mind you I am not judging the way tenors sing. I love tenors! Musical
diversity is a great thing.
Tako
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