John Alexander Blyth wrote :
<< I'm a baritone who will, this evening, perform both the bass
and tenor II solos in Schubert's Eb mass. In order to be able to do this I
have been very strict with myself in allowing my practice of the tenor part
to employ pure, unmixed head-tone as the core sound (warm -ups have included
descending scales on 'nee' from fairly high up - starting note f# working up
to the b at the top of my head-tone range). >>
According to what you write, I assume that you consider head voice to be
distinct from both falsetto and chest?
I have always had my students mix falsetto and chest to achieve head voice,
but I remember that Lloyd Hanson wrote he didn't use the falsetto at all
when training the head voice, while Diane Clark described the voice as a
continuum from 100% chest to 100% falsetto, which idea I share 100%.
Two different perspectives, rather than two different head voices?
| Alain Zürcher, Paris, France
| L'Atelier du Chanteur :
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