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From:  RALUCOB@a...
Date:  Sat Aug 26, 2000  2:13 am
Subject:  Re: [vocalist-temporary] Different uses of the term "Head Voice"


hello listers,

several writers on vocal technique for non-classical singers, roger
love, mark baxter and thomas ammons, instruct the student to not increase
volume or effort while increasing pitch. the idea is that it is easier for
the vocal folds to stretch when they are not increasing their efforts to
resist breath pressure. this produces very different sounds from the
classically trained singer. think of the easy high ranges of singers like
paul mccartney, freddy mercury, roy orbison, luther vandross, etc. and
compare them to the effortful sounds of domingo, carreras, del monaco,
corelli, etc.
consider then, by contrast, the easy high ranges of gedda, gigli, lemeshev,
araiza (for baritones, compare merrill to fischer-dieskau).

in the voices mentioned above with easier high ranges, their sounds
might generally be subjectively described as lighter, 'headier'. the
voices that are more effortful might be desribed as fuller, ringier, more
'chesty', more drammatic. now i ask you to consider two other singers,
jussi bjoerling and giuseppe di stefano (for those of you who don't even want
to be around tenors, let alone, become very familiar with their voices, i do
apologize). the difference between the young di stefano and the later di
stefano illustrates the differences i am discussing in one voice.
bjoerling, when singing at a moderate to soft volume, had a great ease with
his high range. by contrast when he sang loudly, his voice sounded much
more effortful.

it is my belief that aesthetic considerations have a tremendous
influence on whether one chooses a constantly varying timbre with its
accompanying ease throughout the range or if one chooses to sacrifice the
ease of range for the glories of the more drammatic timbres.

mike


  Replies Name/Email Yahoo! ID Date Size
3697 Re: Different uses of the term "Head Voice" thomas mark montgomery   Sat  8/26/2000   2 KB

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