This is what works for me, a baritone:
I feel it is important to truly establish a feel for head voice and
have it secure, before doing things with it. The pure head voice is
naturally resonant and ought to be rather loud, perhaps having too much
richness in the upper frequencies to be considered warm. If I understand
'warm' as meaning more stength in the lower partials and an stronger
vibrato, warmth in upper note would be obtained by, first, making sure the
voice is free enough for vibrato to occur naturally, and, last, by taking
something of the edge off the voice by introducing a touch of "chest"
resonance, usually by allowing the jaw to drop a little more and the throat
to open just a little more.
These are subtle adjustments, and I feel that they should not be
attempted until one is completely secure in singing a high passage in head
voice. I think that there is a lot of resonance that one habitually dampens
without being aware of it, and that one should make a rich unforced resonant
sound one's basic instrument which one can then adjust for timbre
preferences, always allowing for the discovery of another resonance that one
didn't realise one was capable of.
A recent post quotes Birgit Nilsson as extolling head-voice, and I
must agree - it is more subtle to approach than chest voice, even although
it's results can be spectacular. john
John Blyth
Baritone, inter alia.
Brandon, Manitoba, Canada
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