On Fri, 8 Sep 2000, Lloyd W. Hanson wrote:
> Falsetto can be sung with a bit more closure which will produce a
> tone that is a bit more rich in partials. This is sometimes called
> "supported" falsetto because there is more sense of the beginnings of
> subglottal pressure in this kind of falsetto and there is an
> increased potential for dynamic changes in the tone. However, even
> in this adjustment of the falsetto function there is little
> longitudinal tension in the vocal folds compared to the longitudinal
> tension that occurs in true head voice.
I am curious to know if this is perhaps what I've been calling my "other"
head voice. How is the improved level of closure achieved in this
register? Is this increased longitudinal tension to which you refer?
What is the qualitative difference in function between supported falsetto
and a true head voice? If the supported falsetto begins with the
introduction of longitudinal tension, it seems like it could potentially
modulate to a true head voice, gradually. That would make SF (supported
falsetto) simply an extreme case version of head voice... making the
distinction quantitative rather than qualitative.
Asawa and Daniels talk about their countertenor voices as being distinct
from their tenor voices. Do you believe they are using supported falsetto?
You once mentioned that their voices *sounded* like true head voice to you
a few months back. Would your evaluation change given this new
information?
Thanks again for your insights...
Tako
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