Dear Lloyd and List:
Thank you for your input Lloyd.
I would like to highlight a few points you made, and offer some brief
comments. I have on hand a copy of Reid''s "Bel Canto Principles and
Practices".
--- In vocalist-temporary@yahoogroups.com, "Lloyd W. Hanson"
<lloyd.hanson@n...> wrote:
> Manual Garcia, Cornelius Ried and, to some extent Anthony Frisell
> describe a form of falsetto that is not within the accepted
> definition of that form of voice. They describe falsetto as a
voice
> range BETWEEN chest voice and head voice
That is correct, but not without some confusion for me.
On p. 103, in a section titled "The 'Feigned' Voice", Reid
writes, "...the 'feigned' voice appeared and was cultivated after the
falsetto had reached an advanced stage of development. ...The
position of the 'feigned' voice between the registers di petto and di
testa subsequently gave rise to the suggestion...that these tones
comprise a third register, sometimes called the 'middle'."
So - Reid is saying that development of falsetto leads to
the 'feigned' voice which is between chest (di petto) and head (di
testa) - just as Lloyd elegantly summarized.
But on p. 89 there is a diagram and the feigned voice is shown as the
range from A3 (below middle C) to F5. This either means that
the 'feigned voice' overlaps head voice or that Reid
views men as never singing in head voice.
> Garcia, Ried and Frisell suggest that their form of falsetto should
> be developed at a lower pitch level (between chest and head voice
> with overlaps in each direction) and, once achieved, should then be
> transformed into the commonly accepted passaggio or mixed voice.
In
> other words, it is their suggestion that their form of falsetto is
a
> device to achieve a successful passaggio between chest voice and
head
> voice.
Lloyd that is a wonderful summation. And it leads to one of my major
issue with Reid's writings. Reid seems to say that with development
the falsetto just sort of "becomes" the feigned voice/passagio:
(p. 85) "Concurrent with these changes taking place in the voce di
petto, the falsetto also acquires in its turn a fullness and solidity
no longer making this register sound false." I interpreted this to
mean that I could develop and strengthen my falsetto and what would
develop would be a true "head voice" (again, since the feigned voice
according to Reid is from A3 to F5), and instead I just developed a
stronger falsetto.
Cheers,
Michael Gordon
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