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
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