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From:  Dr Colin D Reed <colin.reed@e...>
Date:  Tue May 30, 2000  9:27 am
Subject:  RE: [vocalist-temporary] TECH: American School of Countertenors and Falsetto


>===== Original Message From vocalist-temporary@egroups.com =====
>Axwell@a... wrote:
>> Yes, but isn't the vocal usage different than what the castrattos did?
>> Didn't the castrattos sing normally rather than on the edge of their
>> cords or in a yodel position ? Or whatever a falsettist does? Why do
>> you assume that the sound of a falsettist is similar to the sound of
>> castratto?
>
>There is a difference between a falsettist and a real countertenor (at
>least by my definitions). A falsettist does, as you say, use only the
>edge of his full-length vocal cords, using breath pressure as the
>primary determinant of pitch. A man with a legitimate countertenor
>instrument, however, uses a different technique. The fact that David
>Daniels can do a crescendo or decrescendo on a given note proves it. A
>true falsetto note cannot be amplified because the breath pressure is
>used to control pitch.
>

>-Tako
>

I've never been quite certain about this. I can sing in falsetto (or what I
would call falsetto). It is a slightly breathy sound with no connection at
all to my tenor head voice (I cannot switch from one to the other without
restarting the note, or going through a bit of a yodelling stage) I run out
of breath quicker in this voice (evidence for incomplete adduction), and yet I
can crescendo and decrescendo (albeit more limited than my true voice) and can
use vibrato. This would tend to go against the idea that you have stated
above that the primary factor in changing pitch in falsetto is breath
pressure. Maybe there is an "in between" mechanism? (I admit I am no great
pedagogue, nor an authority on countertenors). I have sung in enough English
choirs with male falsettists to know that they do have a dynamic range of
sorts.

Best wishes

Colin

Colin Reed, Tenor
Newark, UK
Tel: +44 1636 706158
Mobile: +44 7973 952447


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