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Headvoice-chestvoice
Headvoice is a
subtle timbre emission obtained using only vibrations of the
skull.
Chestvoice utilises, on the contrary, vibration of the torax.
We
can understand this better if we imagine our body like a violin or a cello: the
lateral narrowing typical of the two instruments, is similar to the human neck
that has the same function of separating the two voices.
But you must pay
attention, things are not so simple because in chestvoice there is a component
of headvoice and viceversa. Headvoice interferes more with chestvoice than the
contrary.
Exercises done to improuve chestvoice have beneficial effect on
headvoice. Viceversa, bettering your headvoice will produce a more brilliant
chestvoice.
The two voices are obviously interrelated. It is not possible to
have only one of the two with good results. If you are certain of having, for
exemple, good low tones but few high tones, you can be sure that your low tones
are not really good.
Falsetto and the passage
Falsetto is the timbric
structure, concerning the larynx, that prepares the passage from chestvoice to
headvoices.
It is important to work on this passage because the voice has to reach one and
only one colour for the both registers. It is extremely important to reach the
same quality of sound. In this case also, is it necessary that an experienced
person teaches you how to do it. For this delicate phase there are no 'do it
yourself' exercises. There are many singers that have two voices or even three!
It means that they did not work properly on this passage.
Falsetto is in fact an intermediate welding between the acute headregister, and
the low register coming from the chest. Falsetto is a kind of protection
utilized by the larynx, in order to move from one register to the other without
damage.It is a device to limit the damages provoqued when the voice is forced
into the acute register. Making use of a metaphor invented by Tomatis, we can
say that the passage from one register to the other is similar to the change of
gear in a car.
Falsetto corresponds therefore to the clutch that through 'disengagement' allows
to pass from one position to the other softly. This happens if the larynx is
relaxed. Therefore falsetto is a release that allows to reach headvoice.
Falsetto is a defence for the larynx.
We must add that often we can find falsetto defined as sustained headvoice. in
reality this was definited as accomodated falsetto since 1826.
In order to utilize fully falsetto and make it work, it is necessary to remember
its function of clutch.
Wheather or not it is possible to work on falsetto and on the passage, shows how
badly the voice has been utilized and also how much damage has been done to it.
If that is the case, the work af adjusting falsetto is pratically impossible.
The art of singing means also art of erasing the passages. Working on the
passages means in fact wishing to make them dissappear.
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2000, 2001 Jazzitalia.net - Laura Pigozzi - All rigths reserved
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