Colin,
I've very much found this too. I don't know if there is a light at the
other end of the tunnel, but falsetto does seem to (for lack of a better
term) erode my head tone. I've been experimenting with it a lot recently
with the result that instead of having effortless high Bs I'm even cracking
on Gs and Abs. I wonder at pedagogues who think of falsetto as a route to
good high notes - but again - I wonder if this is something you just have
to stick at for a long time. It's wonderful to know that after all my
reading and study and actual singing there is still so much that is
subjective and mysterious in this field (despite the valiant efforts to
analyse,clarify, codify and prescribe).
And while I'm online, on the CT vein, if a good countertenor uses falsetto
then is that what women are using all the time? I personally don't think so
(allowing that it is impossible to use the term 'falsetto' and know that
you are accurately communicating anything) since I hear womens voices
dividing into two approaches, one of which does have what I think of as
'falsetto' qualities - a slightly breathy or hooty quality, which I hear in
the louder productions of, for instance Milanov or Eaglen. john
... In my pre-tenor days as a choral baritone, I was
>often called upon to cover alto. I definitely considered myself a
>falsettist in this role, although my falsetto was quite powerful, had
>vibrato, and I had dynamics (so maybe not what Tako would call true
>falsetto). This mechanism really interfered when I made the switch to
>tenor. I found that if I ever "cheated" on a piano note above the
>passaggio, then I subsequently found it far more difficult to sing the same
>note in true head voice (or even mix). Now I try to avoid this falsetto
>mechanism like mad, otherwise it still creates real problems for me.
>
>Colin Reed, tenor
>Newark, UK
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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