wim wrote:
<< However, there is ample evidence that the vibrational pattern of the folds stays the same as the male voice goes into 'head'. There is vertical phase difference and a large closed quotient in male head voice and also the shape of the electroglottograph signal is the same as in chest voice. The folds are longer and thinner, but I see no reason to assume a register event in the vocal folds themselves, nor a mix of two registers, but simply an extension of the same vocal fold vibrational pattern seen in chest voice. The registration event in a well trained male voice takes place exclusively in the resonance adjustment. >>
wim,
this is my understanding as well. i would go on to say that there should be, given your description above, a constantly varying timbre going from low to high and that the notion of registers is purely psychological and not physical. in putting new strings on a guitar, as one stretches the new string to the correct pitch, the timbre of the string changes as pitch is increased. when a tape of a voice is sped up, there is a timbre change.
i don't know if you have ever tried vocalizing while muffling your sound (by covering your mouth with a towel, for example) but, in doing so, and thereby reducing the amount of sound feedback you receive from your voice, it is remarkable how easy it is to go from low to high (i think lloyd even talked about using paper towels, in such a fashion, to help male students find their head voices).
as i have suggested before, the sound of an efficiently produced voice may not be desirable for the singing of one's art. and therefore, the goal of all singers in learning to sing, is to figure out how to produce the sound they want, not how to produce the voice most efficiently.
mike
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