<< There's going to be a lot of disagreement on this, but I'll tell you
what I think ;-) >>
and for good reason, tako. aside from the obvious problem of writing
about sound, there is the added problem of thinking of the voice as one big
clump. the voice is made up of a vibrator (the vocal folds vibrated by air
pressure) and resonance (everything else). if the vibrator is doint the
same thing on two different utterances of the same pitch but, the resonator
is doing something entirely different on those two utterances then, the sound
will be different.
what you describe as falsetto, i describe as airy falsetto. chest voice
can be equally as airy and equally limited (as in harry connick jr.). what
you describe as counter-tenor (notice the hyphen) head voice, i describe as
adducted falsetto. what others describe as a male opera singer's 'head'
voice, wim ritzerfeld (in a discussion he and i had a few months ago)
described as heavy mechanism with a 'head' resonance scheme. as every
teacher i have ever had has seemed to suggest things that adjust resonance as
a means to entering the land of 'head' voice, this would make sense.
the trouble i have had with your definition of head voice, in our past
discussions, is that i have never really seen an example of something that i
would call falsetto being actually connected to something i would call 'real'
voice, with one exception - nicolai gedda's singing of the last note of the
aria 'magische tone' from goldmark's 'die konigin von saba'.
mike
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