tag:blogger.com,1999:blog-6919674981128634746.post3744677223688779415..comments2023-11-05T07:41:34.380-05:00Comments on Kashu-do (歌手道): The Way of the Singer: Kashu-do (歌手道): Defining falsetto and how it may be used to further balanced phonationKashu-Dohttp://www.blogger.com/profile/17375903978220316261noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-6919674981128634746.post-2255958962615841892015-05-30T10:26:29.362-04:002015-05-30T10:26:29.362-04:00Anto Pavarotti used falsetto above high C sometime...Anto Pavarotti used falsetto above high C sometimes! Greater singers sing high F in real modal voice! It is possible to use real voice quite high! It takes a lot of work to develop the coordination!Kashu-Dohttps://www.blogger.com/profile/17375903978220316261noreply@blogger.comtag:blogger.com,1999:blog-6919674981128634746.post-70013250762778138832015-05-30T10:17:11.493-04:002015-05-30T10:17:11.493-04:00Sorry I'm answering this so late Matias! I mus...Sorry I'm answering this so late Matias! I must have missed it five years ago! I believe Kraus and Pavarotti identified with the light mechanism and consciously worked on it! The balance of the voice requires thickening and stretching function simultaneously! We do not all come out of childhood with the same habits! Good vocal function is unconsciously learned in childhood by imitating qualities that are good for the individual voice. The thickness of the vibrating layers (mucosa) vs. the strength of core muscles that compress the breath is a very significant issue in this process! Not all of us are equally strong relative to our fold thickness! Nurturing the voice begins early! Kashu-Dohttps://www.blogger.com/profile/17375903978220316261noreply@blogger.comtag:blogger.com,1999:blog-6919674981128634746.post-88231534312204445732015-05-21T17:48:14.451-04:002015-05-21T17:48:14.451-04:00I'd definitely say Pavarotti used something in...I'd definitely say Pavarotti used something in between full voice and the light mechanis. Is it possible to not use a "false voice" there for a man?Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6919674981128634746.post-32396542718351520992010-07-11T06:35:45.260-04:002010-07-11T06:35:45.260-04:00非常感谢非常感谢Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6919674981128634746.post-39152217600431514822010-07-08T23:11:01.142-04:002010-07-08T23:11:01.142-04:00Hi Jean, I'm Matìas from Argentina and I have...Hi Jean, I'm Matìas from Argentina and I have some questions for you regarding the falsetto voice!<br /><br />I've been using the Anthony Frisell approach with enthusiasm and I'm finding sucess in doing crescendos and decrescendos from Falsetto to Full Voice in the problematic area of the passaggio! Lately I can sustain notes without much effort which I could only sing loud in the past! (pushing or belting them)<br /><br /><br />My question is about great singers like Krauss and Pavarotti. <br /><br />About Krauss I have heard that he has always rejected the use of falsetto (I've seen clips in youtube where he says that he can't do a falsetto). <br /><br />My question would be : Did Krauss have his registers so perfectly blended that he could never sing a disconnected sound like a breathy falsetto? <br /><br /><br />And the second question is about Pavarotti high notes. <br /><br />Do you believe that he kept his high notes from his childhood singing contralto (refining them with study obviously) or did he have to gain a high B or C through study in his teenage years?<br /><br />In both cases the question would be how did they gain control over their top if it wasn't using some light mechanism like the falsetto?<br /><br />Cause I think it's nearly impossible to try to master high notes in a full voice or loud situation just by hitting or trying to hit the note. <br /><br />Anyway, I hope this wasn't too long!<br /><br />I will be waiting for your answer!<br /><br />MatiasScalectrichttps://www.blogger.com/profile/14838023206187153974noreply@blogger.com