Les wrote:
> Cornelius Reid talks about "blending registers" in which chest is
> added to falsetto by doing crescendo - decrescendo exercises in the
> region of the break. One crescendos from a falsetto to full voice and
> back oh say, from about a B3 to a G4. A lot depends on how you start
> the exercise. It can be started in a pure, unsupported falsetto or
> one that already contains elements of the chest voice to varying
> degrees(but not all of the force). Maybe this second approach was
> what your teacher meant? In any case the more falsetto, the harder to
> crescendo to a blend without the voice breaking. To me, there is an
> "edgy" feel as if you're not using all the equipment but only part of
> it. Lloyd's description of what is happening when one uses "head
> voice" describes what I feel when I sing using a blend to a T. It's
> not falsetto but it's pretty close. There are many times when I'm
> just not sure which I'm using.
>
+++This is also the way I understand and work with falsetto and head voice. The
falsetto is the unconnected, "feminine" sound, and it does not allow a crescendo
into chest or singing down a scale without a break. The head voice always has
the kernel of chest in it, and allows a smooth crescendo into the full chest
mix. When you sing the two soft sounds, they sound a lot alike. The listener
often cannot tell the difference, and sometimes even the singer can't until he
tries either to crescendo or to sing down a scale.
> ---
> Dr. Diane M. Clark, Assoc. Prof. of Music
> Dept. of Music, Rhodes College
> 2000 N. Parkway, Memphis, TN 38112
> 901-843-3782; fax 843-3789
> dclark@r... http://www.rhodes.edu
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