Kevin,
Actually, I think what you've just written is clearer and more helpful
than almost any definition from the scientific camp! However, from lower
down, I don't think a falsetto production can sound full and rich. If it
does then there is probably some adduction, allowing for a wider range of
partials which can resonate at formant frequencies. That's what I think. john
At 04:06 PM 8/25/00 +0100, you wrote:
>Hmmmm.... I got the impression that it was rather singers
>who raised the confusion between head and falsetto and
>that scientists were rather clearer.
>
>As I understand the neat 'scientific' view:-
>Chest - firm adduction of the chords, vibration along the
> whole length.
>Head - less firm adduction of the chords, vibration along
> part of their length.
>Falsetto - No adduction of the chords, vibration along the
> whole length.
>
>The problems seem to come from singers equating this
>neat division of the chord resonance into sound or resonance
>perceptions.
>
>One of the fantastic properties of the human voice is it's
>flexibility. Hence falsetto voices that sound/feel full and rich and
>chest voices that sound/feel light and breathy. Clearly colour and
>balance of overtones etc.. comes not only from the chords.
>The perception on the part of the singer or listener does not
>necessarily equate with the mechanism of vibration being
>employed in the chords. Thus the need to have a trained
>listener (teacher) to help figure out what the voice is doing
>and what it needs to do that it isn't.
>
>I guess it depends upon whether the chest/head/falsetto
>division is defined by mechanics in the chords or perception on
>the part of the singer. I choose the mechanical theory of the
>scientist for description and the perceptual feel for actually
>trying to make the noises. :-)
>
>Kevin.
>(Computer programmer, singer, physicist - hopefully the order
>will change over time !)
>
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John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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