Mike,
>
> horne did go on to say that the male falsetto was one of her
models for
> how she should sound (when i first heard david daniles, i thought
he sounded
> just like marilyn horne). richard miller has stated that one of
the only
> legitimate uses of falsetto is in a male teacher demonstrating for
a female
> student (assuming they wish to sound like a male singing in
falsetto).
It seems to me that Richard Miller isn't very fond of countertenors ?
i
> have had a few students who wanted to sing like female opera
singers (these
> were female students) so, i had them imitate me 'goofing' on female
opera
> singers. it worked quite well and they were amazed how much
easier it was
> to do something that felt more like 'faking it' than something that
felt more
> like work.
>
Interesting view. I must ask my wife to let me teach her female
pupils ;D
> closer in technique to a male singer's, their high range being a
mix rather
> than what i assume to be adducted falsetto (yes, no, maybe?). in
this
I tend to say 'yes' to the adducted falsetto, though I have never
seen satisfactory scientific proof for it. Most probably there is
also some vocalis activity involved in the lower 'falsetto', but
not enough to force a transition into heavy registration.
Some people would call this a mix, but I don't really believe in
mixing light and heavy vibration patterns. To me the transition
between the two is always obvious, though some women (my wife being
one of them) are very good at disguising it.
The female 'pop' voice indeed seems to be close to the (use of the)
male voice in that it involves either a lighter extension of chest
voice (again I personally would't call it a mix), similar to that of
a light tenor OR a raising of the larynx, which inevitably leads to
belting (and which by the way can be a legitimate choice IMO).
Wim Ritzerfeld
baritone, engineer and aspiring voice teacher
Eindhoven, The Netherlands
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