David Grogan first quoted Richard Miller:
'Vocal classification must take into account the location of pivotal points,
without, however, relying solely on them.'
And then wrote: 'Seems that R. Miller also agrees that this is not to be the
end-all way to classify voices.'
I just brought 'Training tenor voices' back to the library, but there Miller
says, that many well trained tenors, have the impression they brought the head
voice register down through their complete range. So if most tenors use head
voice from G4, that does not mean use pure chest until B4b, or even higher. I
also remember a mail from James, who had the feeling there was a register
between his first pivotal point and his lowest (non-Strohbass) notes, and from
Ian, who mostly integrates some headvoice in his lowest tones.
In other words, the first pivotal point does not really say, how high a certain
singer 'pushes up' his or her chest voice, and that's what this discussion was
about, if I am not mistaken. Miller's diagrams also show, that almost the
complete range is some kind of a mix, so how and where somebody mixes may very
well depend on many factors, other than than vocal category. One of the most
important of them, might very well be the way you label a mix.
So whatever the idea behind it may be, vocal strategies of (lyrical) tenors are
not a good arguement to tell women to push up their chest (no I will not make
this mistake again:) voice higher than usual.
Best greetings,
Dre
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