> John wrote - "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."
This has come up a couple of times now and I'd like to clear up my thinking.
Do the frequencies that appear in the voice have to appear also in the chords or can the frequencies of air oscillation in the resonant cavities be driven by different frequencies in the chords ? My initial thinking would be that the 'singers formant' frequencies could be 'driven' by lower frequencies in the chords.
Much of the falsetto/head-voice debate seems to depend upon relating frequencies/richness in the voice to chord vibration and I'm not convinced this is particularly valid. It may be more to do with shaping of the resonant cavities in the head and neck by well trained singers.
As an analogy think about a trumpet player. The player's lips must be vibrating with only one frequency, there are'nt any complex vibrational modes coming into play. (I don't think) However, the sound out of the end of the trumpet is a more complex harmonic mix. The 'extra' frequencies must be introduced by driving resonances in the trumpet itself. (probably) A clarinet would be another, perhaps simpler, example of a single frequency driving complex resonances.
To state simply, in case anyone missed the point. A falsetto mode vibration in the chords, possessing few harmonic complexities could still produce a rich tone in a singer with the right shape of resonant cavities (by training or good fortune). And this tone could be confused with 'proper' head voice.
Is the chap that was research assistant to Ingo Titze still on the list ?
kevin
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