Vocalist.org archive


From:  Tako Oda <toda@m...>
Tako Oda <toda@m...>
Date:  Wed Dec 6, 2000  12:11 am
Subject:  Re: [vocalist-temporary] BAROQUE TENOR


On Tue, 5 Dec 2000, Caio Rossi wrote:

> Tako, I can remember I read something posted by you in the original Vocalist
> with a theory about countertenor register. If I can recall that clearly, you
> said you believed countertenors were not really using the head voice or
> falsetto. Am I wrong??

Yes, I think I was trying to say there were two varieties of head voice.
One that connects to the chest voice because the folds have more mass,
while the other which is harder to connect to chest voice because the
cords are thinned out. Tenors typically use the first type. Female opera
singers tend to use the second.

"Tenor" Head voice is usually "built" as an extension of the chest
voice. My theory is that some of the bulk of the vibrating body is
maintained as the lateral action kicks in. The thicker cord translates to
a more complex spectrum.

"Countertenor" Head voice is developed independently of the speaking
voice, usually. At least in the sense that one doesn't have the goal of
reconciling it with the chest. The thinner vibrating body allows for
higher frequencies. (and simpler spectra) Most women have full access to
this register.

Falsetto is altogether different - it has loose folds, and there is poor
approximation (lots of breath lost). Breath pressure controls the pitch,
since there is not much muscular control in the larynx. Many tenors can't
produce it, from what I've heard. Not sure why...

Some men can go from chest to "tenor head" to "countertenor head" without
any noticeable breaks. IMO, this is where hautes contre come
from.

Tako


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