Dear Lloyd and List:
Regarding registers in the female voice, you wrote:
> The high female voice is produced using a very different formation
of
> the vocal folds than that of the male falsetto. The difficulties
> they have connecting their high voice with their chest voice
requires
> that they transcend TWO passaggio areas, one just above the top of
> their chest voice (about D4 to G4) and one at the bottom of their
> high voice (about D5 to G5). In effect, their middle or mixed
voice
> is more than an octave long and they must develop that area with
> adjustments and balances between their upper chest voice and their
> lower high voice.
I have placed in the files section 13515.rtf which is post number
13515 by Wim Ritzerfeld.
The way I interpret it, the area of registration transition in the
female voice from "chest" to "middle" is a choice. I believe some of
your past posts have also indicated as much - but it is getting kind
of late for me so I will wrap up this little project.
From the information I have read, it seems that some classical female
singers make a low transition, and some "pop" female singers make a
high transition. In post 13515, Wim offers a very nice explanation
for these two divergent strategies.
Anyway, I think my point is that depending on how women use their
voices, their chest voices may not be so short, and their middle
voices may not be so long.
Cheers,
Michael Gordon
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