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From:  Greypins@a...
Greypins@a...
Date:  Tue Oct 2, 2001  2:39 am
Subject:  Re: [vocalist] A question of register


In a message dated 10/1/2001 9:07:17 PM Eastern Daylight Time,
peggyh@i... writes:
peggyh@i... writes:

<< Mike, I have to respectfully disagree with you. You may
choose to call the way a woman sings unsupported tone in her
head voice "falsetto", but it most definitely is nothing
like the male falsetto. It's an unsupported low-resonance
head tone, that is similar to the male falsetto in that the
singer can do nothing with it. But I think the tone you
call the female falsetto is instead comparable to the
unsupported, low-resonance, "mouthy" sound that a tenor
might make in the main tenor tessitura - sort of like the
way most choral (untrained) tenors sing. And the way most
choral, untrained, sopranos sing. It is not falsetto. >>

peggy,

this is not an accurate assesment of my position. i really mean to say
that what david daniels sings in and what almost every professional, famous
female opera singer sings in, is the same and, whatever that is, is not the
same as what someone like aretha franklin sings her high notes with. i'm
not talking about lame singers, i am talking about good singers. what
aretha franklin does and what most male singers do, is to play their vocal
folds similarly to the way a brass player would use his/her lips. what
daniels and all those famous female opera singers do is closer to someone
whistling. the flute, being a low resistance wind intrument does not lessen
its value compared to a trumpet. so, even though i, personally can't stand
the sound of operatic females singing, does not mean i degrade the quality of
their art or effort (at least, not consciously).

i believe it could very well be possible that daniels and female opera
singers are producing sounds that only sound similar but are produced in a
very different way. it could be that no one really wants to look at this
for fear that the mockery of female opera singers by those who would deride
them, is a little too close for comfort. if the latter is the case, the
implication to be derived from that, is benefitial to women who wish to
pursue that art. if 'faking' it (as some men making fun, can) works just as
well, if not better and easier, then why not 'fake' it and spend all that
effort on developing the rest of the art?

mike

emusic.com