Vocalist.org archive


From:  Greypins@a...
Date:  Sun Mar 31, 2002  1:23 pm
Subject:  Re: [vocalist] how do you define 'head voice'?

In a message dated 3/31/2002 8:01:26 AM Eastern Standard Time,
thomas8@t... writes:


> In the same way, I chuckle to myself everytime I hear the
> non-falsetto countertenor argument espoused - I ask myself: if this isn't
> falsetto, where is the dynamic and color variety?
>

mark,

i'm kind of in agreement with you here but, i have certainly heard
enough of david daniels to think that he is operating differently from the
stereotype, hooty, 'why did i have to go through puberty?' variety of
counter-tenor. if we look at lloyd's description of the difference between
falsetto and head voice, as described in his article at chanteur.net, with
the slightest introduction of TA activity, it is likely that the timbre will
still be most similar to falsetto while giving the folds enough resistance to
vary dynamics (daniels' performance of 'ombra mai fu' certainly demonstrates
his ability to vary dynamics).

last night, i was trying to think of a 'white to black' spectrum of
male singers who sing with ever increasing degrees of TA activity, starting
with falsetto. here's what i came up with: drew minter, david daniels,
laurence dale, roy orbison, nicolai gedda, pavarotti, franco corelli, placido
domingo and ramon vinay. this list is based on just listening to them.
what i hear in this daisy chain of singers is a timbre that begins as very
falsetto, getting less so and then, becoming more and more like chest in
timbre. maybe it's a silly exercise...

mike






emusic.com