In a message dated 3/10/2001 5:16:21 PM Eastern Standard Time,
Oberon603@a... writes:
Oberon603@a... writes:
<< He then goes on to explain
how he doesn't feel his voice is falsetto. He thinks that he sang with this
technique so extensively that the musculature in his throat got use to it;
hence this musculature couldn't sustain the different tensions one feels
when
one sings as a tenor. >>
i heard him to say that he doesn't like the term 'falsetto'. if he was
studying with george shirley, he was not trying to chest the high range. he
probably never was able to get used to 'head voice' (which i think of as more
of a mix). his use of the words 'other voice' seem to indicate that he
indeed is talking about 'falsetto' and just seems to indicate that calling it
'false' is abhorant to him. i suspect that he has the same response that
female classical singers have when someone says that what they call 'head
voice' is the same as a male falsetto (we had this discussion shortly before
that ultimate celebration of capitalism- christmas).
i should add, as most of you probably know, pre-pubescent boys have a
chest voice and a falsetto. most of them are bothered by a break that is
similar to a woman's problems with a break. where the timbre differences
between chest voice and falsetto are so different and the stigma against
'men' using anything that even remotely sounds like a woman's voice is so
great, i believe men have much more trouble with a break as they are expected
to extend a chest-like mix higher than is probably practical.
mike
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