Randy:>
I'm still totally puzzled by that turbo falsetto statement because I still
don't believe it to be true. At the end of that thread examples where
supposed to be provided by Lloyd to demonstrate what he was talking about.
As far as I remember that was never done. I would suggest listening to a
tune like "All is Fair in Love" from "Innervisions" and tell me if you hear
any reinforced falsetto. I don't.<
I had to go off the list for some time after that discussion, but I can also
remember that "turbo falsetto" thread dying out unfinished, at least as long
as I stayed on the list.
If the definition of falsetto as partial closure of cords in order to speed
up frequencies still holds, and if "turbo falsetto" has anything to do with
its regular version, my personal experience and my ears tell me there's no
"turbo falsetto" in Wonder's, Perry's, Tate's, Labrie's, if there's such a
thing as "turbo falsetto" at all ( what can be "turboed"? If air goes out
faster, the tone goes up, but that's the very description of tone control in
"regular" falsetto! )
It seems to me that male classical singers go as far as their "mix
register", shortening their cords without thinning them up ( or much ), so
as to keep producing overtones and project their voice above the orchestra
while still portraying a typical male timbre. Those non-classical singers
mentioned, on the other hand, are tuning into "full head voice" without
worrying about a rather child or girl-like timbre ( what wouldn't match most
opera roles, except for travestis, which I doubt could be produced and would
ever be acceptable on or off stage before the 20th century ).
If my "model" is right, that doesn't mean necessarily that their "full head
voice" would NOT project: they'd just have the same disadvantage a woman's
voice has to achieve overtones when compared to a typical man's cords
longer and with more mucosa ). It may be just a matter of finding the
right shape for their resonators.
I'm still puzzled!
Best wishes,
Caio
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