--- In vocalist-temporary@yahoogroups.com, "Lloyd W. Hanson" <lloyd.hanson@n...> wrote: > Dear john and Vocalisters: > > Your comments about the chest voice muscles and the head voice > muscles are not correct. I could go into some details with you about > this but at this point is is perhaps best to emphasize that it is > the vocal folds which produce the oscillation that is the driver for > a phonated tone (a tone as it emerges from the larynx) and it is the > quality of this phonated tone that is the source sound material out > of which the final resonated vocal sound is created through resonance.
>. . .
> Mixing chest voice with head voice in some arrangement or other is > often spoken of on this list but the reality is that the voice is > merely in transition from thicker vocal folds to thinner folds. One > cannot be in a thick folds conformation and, at the same time, be in > a thinner vocal fold configuration. In that sense it is not possible > to mix chest voice and head voice. But it is possible to be singing > a given pitch, say in the upper middle of the vocal range, in a > variety of conformations such as with slightly thicker vocal folds > (chest voice sounding) or slightly thinner vocal folds (head voice > sounding). But each configuration of the vocal folds in this example > is unique and they are not mixtures of each other. > -- > Lloyd W. Hanson > >
Lloyd,
I absolutely agree with what you are saying about the muscle groups. I usually don't use that terminology - but I did in an effort to clarify what I was saying.
What I am talking about refers more to what the singer psychologically "feels" is "controlling" the voice. I think most people have two distinct mechanisms for producing any pitch. Within these two mechanisms that control the pitch, I think it is possible to shade the color of the voice in an infinite number of ways.
Within the mechanism that most easily creates a "light, soft" sound it is possible to focus the tone in such a way that qualities of the other mechanism appear to be added to the tone - yet the singer senses no "switch" to the other mechanism. On the other hand, it is also possible to make the other mechanism that generally creates a loud, heavy sound to sing tones that are soft and light, yet the singer senses no "switch" to the other mechanism. I think it is preferable to use the first scenario that I mentioned in this paragraph rather than the second.
Well, that's described differently. . . John
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