On Tue, 5 Sep 2000 RALUCOB@a... wrote: > in my experience with working with both pre-pubescent males and females, > i have noticed that they both have what is called 'chest voice' and 'head > voice'. in the case of these two groups, as well as adult females, the > timbres of these two areas of the voice are more similar than these two > timbres in the adult male voice (most would probably agree so far). in > general, the boys, the girls and the women sing in both 'head' and 'chest', > with the problem of going from one to the other without sounding or feeling > as if they are 'switching'.
Yes, yes, yes! The problem is that the 'head' voice to which you refer is unlike that of a tenor 'head' voice. It's very confusing. To my ear (and in my experience), it is like the countertenor 'head' voice.
> without going into detail, my approach to this > problem, in all voices, including adult males, is to have the student begin > 'switching' earlier and finish 'switching' later.
Exactly - which results in the 1 octave passagio zone for women (and children and countertenors) to which Lloyd Hanson refers. It's a strategy... it is possible to tackle the registration in a different way.
> the students i find most resistant to this process are men who are > uncomfortable singing in 'falsetto' and women who are interested in, for want > of a better word, 'rougher' pop music where the aesthetic is more akin to a > 'belting' tone than a 'headier' tone. so, i suspect the 'loss of their > soprano voices', in men, as you put it, is more likely due to cultural > factors than to physical factors, as it affects both men and women (and i > suspect that its affect on women may be more pronounced in the past forty > years relative to the development of pop music).
Yes, pop females have very different registration events than opera females, usually.
Tako
|
| |