Tako wrote: > > "Countertenor" Head voice is developed independently of the speaking > voice, usually. At least in the sense that one doesn't have the goal of > reconciling it with the chest. The thinner vibrating body allows for > higher frequencies. (and simpler spectra) Most women have full access to > this register. > > Falsetto is altogether different - it has loose folds, and there is poor > approximation (lots of breath lost). Breath pressure controls the pitch, > since there is not much muscular control in the larynx. Many tenors can't > produce it, from what I've heard. Not sure why... > That may be my female voice-like 'falsetto' ( at least, that's what I call it ). As I said here on the list when I described my voice to someone who was researching on countertenors, I feel like I have two 'falsettos': a useless one ( at least, from the inside that's how it sounds ) and that 'female' voice ( since I found my head voice, I haven't practiced the latter anymore. I used to be really good at it. Now, my focus is on my chest voice, and then I'll focus on my mix ).
I have the impression that this kind of voice is too problematic: it must have so many unique characteristics that it's hard to find a teacher who can deal with it and develop all its potentialities. I think that must be the reason why only now I've found someone who doesn't seem to be so clueless.
Thanks a lot,
Caio Rossi
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