On Mon, 11 Sep 2000, Lloyd W. Hanson wrote: > As I mentioned, judging a voice from sound only, and especially from > recordings can be very deceiving. For one thing, I do not know what > Asawa and Daniels mean by their tenor voice. Many who speak of > having two parallel voices are referring to a very heavy, lowered > larynx sound for their tenor voice and a lighter, heady quality for > their "other" voice. If this is the case for the above mentioned > artists then I would say they are comparing a poor vocal technique > (the heavy voice) to a better vocal technique (a head voice).
I'm almost certain Asawa and Daniels are talking about a truly different register (whether it is "supported falsetto" or not, I'm not sure). Daniels in particular was training to be a Rossini tenor, and surely can tell the difference between his tenor head voice and this other voice he has. He specifically distinguished himself from "extended tenors" such as Russell Oberlin (in a joint interview), by saying his countertenor is simply not related to his tenor, that it is "a different voice". Asawa has said pretty much the same thing as well.
> A so called "supported falsetto" can include some addition of a > longitudinal tension but is more likely to be the addition of a > median compression which allows a better closure of the vocal folds. > Once longitudinal tension is introduced the voice begins to make the > transition into head voice which typically includes increased > sub-glottal pressure and a tone more rich in harmonics.
So is it conceivable that a "supported falsettist" could gradually introduce median compression and longitudinal tension to the point that the mode of vibration actually evolves into a tenor head voice? It seems as though this is what the "automatic transmission" variety of hautes contre are doing.
Tako
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