Here is a quote from The Structure of Singing, in which Miller describes a
chart demarking registration points in the female voice:
The soprano category embraces a wide diversity, from coloratura to dramatic.
The dramatic soprano instrument is closer in character to the dramatic mezzo
than to the light soprano; registration events reflect these relationships.
Vocal classification must take into account the location of pivotal points,
without, however, relying solely on them.
Seems that R. Miller also agrees that this is not to be the end-all way to
classify voices.
David Grogan
ETBU Music
Marshall, Texas
----- Original Message -----
From: "Tako Oda" <toda@m...>
From: "Tako Oda" <toda@m...>
To: <vocalist-temporary@egroups.com>
To: <vocalist-temporary@egroups.com>
Sent: Tuesday, December 12, 2000 1:58 PM
Subject: [vocalist-temporary] Re: Why do women sing in head voice?
> > I don't think I am from my recollection. He even has a chart that shows
the
> > passage points and the classifications that go with them. Richard
Miller is
> > an important pedagogue but it does not mean we have to agree with him on
> > everything. There's a lot a agree on, some I don't.
>
> I remember this chart (from Structure of Singing), and you're right, it is
> pretty specific, down to a major 2nd allowable deviation for each type. Of
> course, it isn't a tenor/bari/bass chart, but goes into each fach
> subdivision, which I suppose is less awful, but IMO, still limiting.
>
> Tako
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