Assumptions abound

In a Facebook forum recently a “teacher” (looking at her page I saw no qualifications) asked the question: “Can someone give me examples of popular commercially successful male singers that sing high notes other than with falsetto, with a lowered larynx and lifted soft palate and good acoustic space?” Oh my. No, I can’t, because […]

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But what about "middle voice"?

If we stick with Garcia’s definition of “register” as tones following a similar mechanical principle, then we have the chest (thyroarytenoid dominant) and the falsetto (cricothyroid-dominant), and that middle area that gets all kinds of names is where they dance. Sometimes one leads, sometimes the other does. Each can go to the other’s neighborhoods, but […]

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On the “mix” needed for some nonclassical styles of singing

First: Laryngeal height The way to balance a voice has often been described as a “balancing act” between the “stretcher muscles” (cricothyroid) and the “closer muscles” (mostly thyroarytenoid). This is a handy two-dimensional model, but the larynx, being a physical thing, has a third dimension, or it wouldn’t be a physical object. This other dimension […]

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