Reg, thanks for your input. I'm not sure I understand all of what you say,
but it sounds like what I was trying to put accross. As far as the singer
formant and its consistancy of frequency, could it be that that is the
frequency of the fixed boney structures of the head? I know there is a
frequency for the vocal tract based on length and shape, perhaps the singer
formant appears when we awaken the air in the skull. I think so but have no
research to support it, perhaps someone else does.
Michael
>From: Reg Boyle <bandb@n...>
>Reply-To: vocalist-temporary@egroups.com
>To: vocalist-temporary@egroups.com
>Subject: Re: [vocalist-temporary] Source of frequencies was:Falsetto
>Recognition
>Date: Wed, 30 Aug 2000 11:58:44 +1000
>
>This received considerable coverage on Vocalist International and should
>be accessable in the archives if they ever become available again.
>
>Most interesting, thank you all,
>
>John Blyth's description is very good I think. I'd just like to restate a
>few
>principles that were made in some of the original discussion.
>
>Harmonics of the fundamental frequency can only be produced in two ways.
>
>One, generally held in abhorrence by the authorities of vocal production,
>is by intermodulation. This is because it requires some rather gross
>non-linearity to produce it.
>
>The other is by square wave breath flow rates, with two sub groups of
>symmetrical and non-symmetrical. That is, odd and even harmonics.
>(In one respect this is a gross non-linearity too!)
>
>Repeated total fold closure, is a description of
>square wave air rate interruption.
>
>Fold vibration that does _not_ include complete closure, implies
>a fundamental deprived of harmonic association because the movement
>of the folds cannot include the abrupt rate changes necessary to their
>production. i.e. Falsetto.
>
>Therefore the difference between head voice and falsetto clearly suggests
>complete closure with relevant harmonic production for the head voice,
>but not for falsetto. A low amplitude head tone would mean very low
>amplitude related harmonics, and thus be easily confused with a similar
>amplitude falsetto. This would suggest to me the need for on-set
>exercises and downward sliding tones. But what would I know I'm
>only a singer and a tenor at that.
>
>In the symmetrical ; complete closure case, the odd harmonics produced
>for a 220 Hz tone, the amplitude of which is taken as 100%, will include
>33% 660 Hz
>20% 1100 Hz (Hz means Hertz or vibrations per second.)
>14% 1540 Hz (There would be no other frequencies.)
>11% 1980 Hz
>9% 2420 Hz Subsequent filtering of these frequencies will then either
> block or pass and interface them to the external world.
>
>The thing I cannot grasp in all this is how the so called singers
>formant can be at constant frequencies apparently unrelated to
>the relevant harmonics of the pitch being produced. Yet that is what
>I seem to read here so often. An unpleasant aural prospect!
> For some reason this brings to mind the problem some
>singers have of not opening their words on the same pitch as the
>subsequent vowel.
>
>
>Regards Reg.
>
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