----- Original Message -----
From: <chosdad@c...>
From: <chosdad@c...>
To: <vocalist-temporary@egroups.com>
To: <vocalist-temporary@egroups.com>
Sent: 13 December 2000 19:19
Subject: [vocalist-temporary] Re: BAROQUE TENOR
For example, Richard Miller shows that for a
> typical lyric tenor voice, there are the following areas:
>
> Below C3 "Strohbass"
> C3 - G3 Chest
> G3 - C4 Lower Middle
> C4 - G4 Upper Middle
> G4 - C5 Upper
> C5 + "Falsetto"
>
> Again, the departure for Dave Stroud is that he uses a baritone voice,
> and then terms the "Falsetto" extension as "super head". The
> departure I made was to just relabel the names.
>
> Now about your voice. I haven't heard it, but let us suppose that you
> are a voice about a hole step higher than a lyric tenor. That would
> mean to take the above charts up a whole step for you.
>
> Cheers,
>
> Michael Gordon
>
>
>
This could be true. You described a certain fatigue and hoarseness after
you practise this way. I am a lyric(ish) tenor. In an earlier incarnation
singing as a baritone I used to be able to push my chest voice up to G4, but
would get hoarse in the way you have described. If you are a whole tone
(step) higher than a lyric tenor, then it is possible that you could push
your chest voice to A4, but it wouldn't be something I would necessarily
recommend. I guess you will realise this if you are getting hoarse after
singing this high in this manner. I would agree that discussing it with
your teacher would be the best approach.
Best wishes
Colin Reed
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