On Mon, 4 Sep 2000, Lloyd W. Hanson wrote:
> There is a transition area between these two registers
> which is usually called the male passaggio. For the high tenor this
> passaggio occurs in the approximate range between D4 and G4...
> ...The female equivalent to the tenor passaggio (which is usually about a
> fourth in range) is the female middle range which us often an octave or
> more in range. Below this is the female chest voice, above it the female
> head voice or, if you prefer, high voice. Above the female high voice is
I agree with these registration events. It doesn't necessarily mean that
the mechanical nature of the passagio notes are the same for men and
women. I'm fairly sure you don't mean that, but I thought I'd clarify. I
also don't believe the mechanism for a woman's upper head voice is the
same as a tenor's head voice.
> The [tenor] head
> voice is characterized by a strong ring, a brilliant color and, if sung
> softly (mezzo voce) an very intimate quality. All of its colors display an
> overtone series that is absent in falsetto.
I have two distinct registers that I can use in the D4-Bb4 range: One is
like a tenor's voice, the other is the more traditional "countertenor"
register. Thing is, though, that there seems to be plenty of color in
both. There is less "ring" in a "countertenor" G4 than a "tenor" G4, but I
attribute that to the fact that tenor G4 is a high note, whereas
countertenor G4 is a middle note. The dynamic range available to each
register is about the same.
I've also heard that female singers simply have less of a formant -
probably due to the higher notes (fewer overtones), but also because of a
generally lighter production. I can relate to this when I sing
countertenor. I *must* lighten my sound in my middle range, or the high
notes become impossible, or don't reconcile timbrally.
Tako
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