Dre wrote:
> As always, Lloyd is right. But in my own tenoral experience there is a big
difference between a well supported and an unsupported or weakly supported
(tenor) head voice. It is the support (with vowel modification, for many
vowels) that enables the tenor to make the head voice sound like the chest
voice, that enables him to sing an even sounding scale from C4 to C5 that is
loud enough.
>
> With less support, the head voice sounds much weaker, and different from
the rest of the voice at the same volume and this is often mistaken for
falsetto. Carreras used/s it a lot, and so did Richard Tauber. Many tenors
use it to mark notes, because it is an easy and non fatigueing way to sing
higher notes.
But Lloyd had written:
>I have also found that most singers with this vocal tonal variety
have difficulty changing from the lighter form of head voice into the
heavier form of head voice and back again in most parts of that
range. It takes careful training to give them eventual control of
these two modes within the same vocal range. I have also found that
each of these singers is very aware that their falsetto voice has yet
another vocal configuration with quite a different sound and feel
when compared to the two forms of head voice<
Dre, Lloyd talked about two vocal configurations and you said they were only
a matter of support. Unless I misunderstood you, Lloyd, or both, if Lloyd is
right you are wrong, and vice-versa. Or not????
> To Tako: Why would a tenor that has a register (head voice) with which he
can do everything in a sublime way, use falsetto?
But Tako advocates that what you call a falsetto voice is actually a
countertenor register!
> To Caio: As I understand from Miller's book 'Training Tenor Voices', very
light high tenors often have problems finding their head voice, because they
come such a long way without it, having their 2nd passagio point at a4 flat
or even higher and above that use falsetto instead. And if you are really
such a high tenor, your high notes wil sound different from the ones you
know from most tenors singing high c's.<
I'll have to investigate that with my teacher. I'll put a pin on your
observation and go back to it after my next class. Anyway, my 2nd passagio
point is at a4 ( I think I can go one or two notes higher, but I can never
do it when people are listening to me. I always think that a4 is so ringy
that I think they are going to run away from the room. My teacher had to
record my voice last class to PROVE to me it was good. That's when she said
I had a light tenor voice, not a piercing tone ). I haven't used that
falsetto-like ( or falsetto itself? ) for her to evaluate, so I'm not sure
what it is. I'm sure I can crescendo with that voice, what, according to
most definitions, in not an expected characteristic of falsetto.
Who am I? who am I? Who am I?
Thanks,
Caio Rossi
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