Greypins@a... wrote:
Greypins@a... wrote:
> but tako, male singers can produce breathy chest voice that has no
> singer's formant. do you call that falsetto as well?
Nope. What I call falsetto is not just a breathy version of what I
call light mechanism head voice. The breathiness of true falsetto is
more a symptom of its defining physiological chracteristics:
full-length, loose cords. The head voice, on the other hand is
identified by shortened cords (and a decrease in space between the
hyoid bone and thyroid cartilage). The mechanism of these two
registers is just plain different. Breathy chest voice, on the other
hand, is mechanically the same as supported chest, just with sloppier
coordination.
> to compare daniels singing the C above middle C to pavarotti
> singing it (or gedda, araiza, wunderlich, etc) is not even
> close.
Sure, it's different, but Daniels' C isn't all that different from
Mark Padmore's (a haute contre) high C. It also doesn't sound all that
different from the sound of modern endocrynological castrati (like the
guy from the movie Dangerous Liasons) singing this note, who are
arguably like the castrati of yesteryear. What the castrati did was
not called falsetto - and we're not entirely sure that the modern
operatic CTs muscle action is all that different from what they did.
> even daniels distinguishes between tenor head voice and
> what he wishes had a better name than falsetto (changing what it
> is called is not going to change anyone's attitude towards it,
> positive or negative).
I wish falsetto had another name too, because a lot of critics of the
CT voice use its very name as proof that it is a dastardly register,
since they don't have a whole lot else upon which to base their
prejudice.
Tako
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