Dear Nicolas and List:
It is important that we as individuals think critically and take responsibility for ourselves. I can make a statement, and it may or not be true. Some on this list have impressive academic backgrounds and credentials (MS and DMA/PhD in voice, pedagogy, etc.) and in general I would have more confidence in the verity of their statements. However, even people with the best of credentials make erroneous statements, and some issues are not satisfactorily resolved, in my opinion.
At any rate, John Moody has a point of view, and he has every right to express it. I have read and I own 2 books by Cornelius Reid, as well as Anthony Frissel's "Tenor Voice" book, and John's writings mirror these books, as John himself states. Personally I believe there is merit to what those books are saying, but there is a lot of opportunity to misinterpret and to question what is really meant by those authors. I do not believe these author's writings (Reid, Frissel) represent our current best understanding of vocal functioning or vocal pedagogy. Nonetheless, if exercises inspired or suggested by these books are helpful, go for it.
Does it really make sense for "head voice" to completely overlap "chest voice" as Frissel and Moody write? I think I know what they mean, but the literal statements make no sense to me. Chest voice means a certain configuration of the vocal instrument, and head voice another. Vocal registers cannot "mix" - sorry - that's just physical reality. It is true that one can, however, while in chest voice sing in a such a way that one makes a gradual transition into say head voice, and if one interprets such a gradual transition as "mixing" that is ok.
Both Reid and Frissel talk about the falsetto developing into the "middle falsetto" or the "coordinated falsetto". What I think they mean is that after a period of initial exercise of the falsetto, the student will be able to produce true "head voice" which they term "middle falsetto" or "coordinated falsetto". So the words are quite confusing.
I believe I now possess (if imperfectly developed, but still) a "middle falsetto" or "coordinated falsetto" - but I did not lose the ability to produce "falsetto" - meaning (in the lower range) a truly breathy, frankly horrible and without aesthetic merit sound. Reid and Frissel's writings suggests to me that with practice the "falsetto" just sort of develops into "head voice" and my experience is quite different.
A few quick comments below, and I'll quit this thread.
Best wishes,
Michael Gordon --- In vocalist-temporary@yahoogroups.com, "iacmf <iacmf@y...>" <iacmf@y...> wrote: > 1)My falsetto reaches F3-D3(C4 as the middle C),before a break > occurs in my voice.Is there a technique i can use to avoid that > break? Except as an exercise, to be used sparingly, I do not believe the vocal range you describe (or any vocal range for that matter) should be sung in falsetto.
> By the way,i've read that it is impossible to connect falsetto > with chest range.Mr Moody said,that what i should achieve is > starting from falsetto and keepimg my voice connected untill the end. I would say that if you can pass smoothly into chest voice then you are in head voice.
You must decide for yourself if John's advice is good for you. I would assert that the desired vocal production is head voice, not falsetto. If you are unable to find "head voice", a temporary use of "falsetto" may be necessary and helpful.
> 2)Mr Moody told me that it can take years to develop head voice >from > falsetto.Does it mean that it isn't a proper method? Ah - when people don't like an answer they go elsewhere. I would have to agree with John that learning to sing takes time. The truth is that few people have really well developed voices, and those that have them almost always spent years to achieve it. That's the facts - not opinion. The reason someone like say Pavarotti (in his prime) was so celebrated is that few have achieved that kind of vocal mastery. And I assure you Pavarotti did not just write to a discussion list for help, do a few exercises, and two months later become a big singing star.
> 3)When i try increasing the volume of a falsetto note,i can feel > vibration on my chest.However my note remains breathy and weak.Is > that normal? Sure - you are going from a soft falsetto to a louder falsetto.
|