Dear Diane, Les, and List:
--- In vocalist-temporary@yahoogroups.com, Clark_Diane <DCLARK@r...>
wrote:
> +++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.
Diane - that is clear and well stated. BUT - here is a different
perspective.
Suppose I sing say E4, which is a few notes above middle C. Then I
have no confusion, and it is just as you describe - if I sing a
breathy falsetto, it is disconnected, and I cannot crescendo into
my "full voice". If I sing in "head voice" - it is connected.
But, suppose we go higher - say Bb4 or higher. At this higher pitch,
I can start in what feels like a "connected voice", or I can go over
to the "dark side" (joke!) - I feel the voice do something different -
and I can start in a lighter, headier voice. Now neither voice for
me can crescendo very much at that high pitch. And, I can with both
voices slide down into the full voice smoothly - but with the ligher
voice I know am doing a bit of a switch, although it is almost
imperceptible.
My interpretation, and the description in Kenneth Phillips "Teaching
Kids to Sing" - is that adult men have at least 3 different
possibilities in their upper range - the names are arbitary - I just
picked something:
"Connected Head Voice" - as you described
"Pure Upper Register" - Phillips describes this as the same register
as the high female voice, and says that except for countertenors and
rock/non-classical singers, men do not typically perform in this
voice. The pure upper register has less of the vocal folds
vibrating - Phillips says it is mostly an edge vibration - but the
tone is resonant, not breathy.
"Falsetto" - This is a breathy, non-resonant tone.
So I think that lower in the voice the distinction you describe is
clear, but higher in the range things become more confused.
Cheers,
Michael Gordon
|
|  |
