Hey list, I just made and posted an MP3 out of a few snippets of
Pavarotti's "Caro mio ben." I hope it's legal. There is no hope of
saying this is a marketable recording - it is just some good
examples of . . . "head voice??"
I have been touting the benefits of crescendoing from a falsetto in
order to find a good full-voice in previous posts. There are many
recorded examples of what I am talking about, but I happened to run
across this one today - so I wanted to get some other opinions of
what the master is doing.
To my ears he clearly starts in a falsetto-derived tone. As he
descends the scale he adds a little more weight to it - then he adds
his full voice. Later he takes a full voice tone, then slides up to
a very soft, falsetto - derived tone, then finishes the piece in his
full voice.
Now, I can't make any sound that resembles these soft passages in
anything related to my "chest voice." These tones are much closer
to what I consider to be "falsetto." Whether a student can
seemlessly integrate a soft starting tone into his full voice as
Pavarotti does here right off the bat is not important in my
opinion. The question is "what is the route to take?" "Can I
achieve similar results by manipulating my chest voice? Or is my
falsetto closer to the desired starting tones?"
Well, here is a recorded example that can hopefully be commented on
for illustrative purposes by other vocalisters. I would surely like
to know what some of the more seasoned singers think and know Mr.
Pavarotti is doing in these instances. You can find the MP3 in
the "files" section under groups, vocalist-temporary.
John
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