This is spot on. And to add to it, it would be virtually impossible to leave a
mix of any kind. If one were operating in pure chest or pure falsetto [which is
the other register], the result would not be desirable on an aesthetic level.
The pure chest sounds short, loud, and brassy. Pure falsetto operates at
basically one medium-loud dynamic level, unable to swell or diminish. It's
hooty like a faraway train horn/whistle and uses the air very very quickly. The
problem is the balance between them can vary so widely, and this ultimately, is
the point of vocal training--to find the right balance in register activity
within a given range.
Nick Scholl
http://www.opacodex.com
>
No. I am suggesting that EVERY note needs a balance of chest voice
and head voice in order for the tone to be optimum. Most people
don't use their head voice when they speak, therefore, telling them
to just use their speaking voice at it's "natural range" often means
that they eliminate a vital part of their tone - the headvoice.
Spoken in different terminology, the cricothyroids need to be
active - even if in only the smallest way - in the lowest performing
notes, just as the arytenoids need to be active - even if in only
the smallest way - in the highest performing notes. The middle of
the range should be more of an even mix between the two muscle
groups. So, I guess I am suggesting the singer should try to never
actually leave the "mix."
>
|
