Yes, I do consider them to be distinct: but at the same time they are the
extremes of a continuum. I very much agree with Diane Clark, and also Lloyd
Hanson. It's like watercolour: sometimes you do need black, and sometimes
you need to leave the white paper showing; and in between is a world of
textures and washes. When there is more of less complete approximation of
the vocal folds in each vibratory cycle, that's the basic sound which gives
head tone; when the chords 'waft in the breeze' that's falsetto. When they
are almost approximating, or maybe approximating for only part of their
length (?) that is the thing in the middle that we mostly seem to do. It
works very well in the middle of our voices, and a vocalister posted an idea
a while ago that basses' low notes are best sung falsetto (!)(I'm not sure
about that one.
To recap: if the vocal folds vibrate without coming at all close -
that's falsetto to me. I was able to mix more in the rehearsals and the
performance , I think, because I stuck to the less strenuous head tone until
I really *knew* those notes.
By the way the Schubert performance went very well: both ends of the
voice worked well, even although we (the soloists) had to sit facing the
audience through a half hour of mighty choruses before we got to sing. The
challenge of singing tenor has clarified my understanding of what to do with
high notes, though something tells me the journey is a long way from being over.
john
At 16:27 01/04/00 +0200, you wrote:
>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 :
>| http://chanteur.net
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John Blyth
Baritone, inter alia.
Brandon, Manitoba, Canada
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