Falsetto ( Italian pronunciation: Ã, [ f a l e tt o ] ; The little Italian of falso , "false") is a vocal register that occupies the frequency range just above the capital sound register and overlaps with it about an octave.
This is generated by vibrations from the ligament edges of the vocal cords, in whole or in part. Generally cited in the context of singing, falsetto, the characteristic of phonation by both sexes, is also one of the four major oral vocal registers recognized by speech pathology.
The term falsetto is most often used in the context of singing to refer to the type of vocal phonation that allows the singer to sing a tone beyond the vocal range of a normal voice or capital. The typical tone of the falsetto or M2 registers, usually has a distinctive sound like flutes and flutes that are relatively free from tones - which are more limited than their capital counterparts in both dynamic variations and tone qualities. However, William Vennard points out that while the most untrained person can sound relatively "breath" or "hooty" while using falsetto production, there is in rare cases a person who has developed a much stronger falsetto sound production that has more "rings" therefore.
Video Falsetto
Proses fisiologis
The voices of capital, or capital registers, and falsetto registers differ primarily in vocal cords. Normal sound production involves the vibration of the entire vocal cords, with the first glottis being opened at the bottom and then at the top. The production of falsetto, on the other hand, only vibrates the ligament edges of the vocal cords while leaving each body of the folds relatively relaxed. The transition from the sound of capital to falsetto occurs when each vocal cord body, or vocal muscle, relaxes, allowing the cricothyroid muscle to stretch the vocal ligaments. William Vennard describes this process as follows:
With relaxed vocal muscles, it is possible for the cricothyroid to place large longitudinal tension on the vocal ligaments. Tension can be increased to raise the tone even after the maximum cable length has been reached. This makes the vocal cords thin so there is a negligible vertical phase difference. The vocal muscle falls to the side of the larynx and the vibration occurs almost entirely in the ligaments.
In the modal register, the vocal cords (when viewed with a stroboscope) appear to be in contact with each other during each vibration, closing the gap between them completely, if only for a very short period of time. This closure cuts out the air. As the air pressure in the trachea increases as a result of this closure, the folds are separated, while the arytenoid cartilage vocal process remains in the aposition. This creates an oval shaped space between the folds and some escapes the air, lowering the pressure inside the trachea. The rhythm repetition of this movement creates a note.
In falsetto, however, the vocal folds appear to be broken apart and on the falsetto singer an untrained permanent oval hole is left in the middle between the edges of two folds where a certain air volume exits continuously as long as the register is involved (the singer is singing by voice). However, in skilled countertenors, vocal tape mucous membranes are interconnected with each other during the vibration cycle. The arytenoid cartilage is held in the company's position on this list as well. The length or size of the oval orifice or separation between the folds may vary, but it is known to obtain a larger size when the pushed air pressure increases.
The folds are made of elastic tissue and fat. These folds are covered on the surface by the laryngeal mucous membranes which are supported deeper downward by the innermost fibers of the tirooftenoid muscle. In extreme membrane edge falsetto, ie the edges away from the center of the gap between the folds, seems to be the only part that vibrates. The mass associated with the innermost part of the thyro-arytenoid muscle remains stationary and immobile.
Some singers feel a sense of muscle relief when they change from the capital register to the falsetto register.
Research has revealed that not all speakers and singers produce falsetto in exactly the same way. Some speakers and singers leave the cartilaginous portion of the open glottis (sometimes called 'mutational chink'), and only two-thirds of the front of the vocal ligament enters the vibration. The resulting sound, which is typical of many teenagers, may be pure and flutelike, but is usually gentle and anemic in quality. In other parts, the full length of the glottis opens and closes in each cycle. In the other, a phenomenon known as attenuation occurs, with the number of glottal openings becoming less and less as the pitch rises, until only a small slit appears at the highest pitches. The type of mutation of the falsetto mutation is considered inefficient and weak, but there is little information available about the relative strengths and weaknesses of the other two types.
Maps Falsetto
Falsetto lady
Both sexes are physically capable of phonating in the falsetto list. Prior to research conducted by scientists in the 1950s and 1960s, it was widely believed that only males were able to produce falsetto. One possible explanation for this failure to recognize female falsettes more quickly is that when the phonate man in the falsetto list there is a much clearer change in timbre and the dynamic level between the modal and the falsetto register than the female voice. This is due in part to the difference in the length and mass of the vocal cords and the difference in the frequency range. However, film and video studies of laryngeal action suggest that females can and produce falsetto, and electromyography studies by some leading speech pathologists and pedagogical vocals provide further confirmation. Moreover, the presence of many great women throughout history clearly demonstrates the falsetto of women.
While scientific evidence has proven that women have a list of falsetto, the problem of 'falsetto women' has been filled with controversy among teachers of singing. This controversy does not exist in science and the argument against the existence of female falsetto is not parallel to current physiological evidence. Some pioneers in vocal pedagogy, such as Margaret Green and William Vennard, quickly adopted current scientific research in the 1950s, and pursued the biological process of falsetto women in the film. They went so far as to incorporate their research into their pedagogical methods of teaching female singers. Others refused to accept the idea, and opposed the falsetto concept of women continuing among several teachers singing long after scientific evidence had proved the existence of female falsetto. Well-known opera singer and vocal teacher Richard Miller points out in the 1997 publication, The National Singing Schools: English, French, German and Italian, that while German vocational school teachers have embraced the idea of ​​a female falsetto in pedagogical practice, there are divisions in French and English schools, and a full rejection of the idea of ​​falsetto women at the Italian singer school. In his 2004 book, The Solution for Singers: Tools for Actors and Teachers, Miller said, "It's illogical to talk about falsetto women, because women are incapable of producing timbre in the radically different range of 'mezza voce 'or' voce piena in testa 'quality ".
However, other authors of the song have warned about the dangers of failing to recognize that women have a list of falsetto. McKinney, who expressed fears that many books about singing art completely ignore or ignore women's falsetical problems or insist that women do not have falsetto, argues that many young female singers replace falsetto for the top of the capital vote. He believes that failure to recognize female falsetto sounds has led to misidentification of young contraltos and mezzo-sopranos as soprano, as it is easier for this lower sound type to sing in soprano tessitura using their falsetto registers.
Music history
The use of falsetto sound in western music is very old. Its origins are hard to trace because of ambiguity in terminology. Perhaps when the 13th-century writers distinguished between the chest, throat and head registers ( pectoris, guttoris, capitis ) they meant capitis to refer to what would later be called falsetto. In the 16th century the term falsetto was common in Italy. The physician Giovanni Camillo Maffei, in his book Discorso della voce e del modo d'apparare in cantill in garganta in 1562, explains that when the bass singer sings in the soprano range, the sound is called "high-pitched artificial sound". In a book by GB Mancini, called Pensieri e riflessioni written in 1774, falsetto is equated with " voce in testa " (translated as' voice head').
The falsetto register is used by male countertenors to sing in alto and sometimes soprano ranges, and is standard before the women sing in the choir. Falsetto is sometimes used by early music specialists today, and regularly in the choir of British cathedrals by people singing alto lines.
There is a difference between the modern use of the term "head voice" and its previous meaning in the renaissance as a falsetto type, according to many professional singers. These days, the head sound is usually defined as a mixture of chest and head sound, thus creating a stronger sound than falsetto. Falseto can be colored or changed to sound different. This can be given a classic style to sound as classic male countertenors make it sound, or sung in a more contemporary musical style.
In opera, it is believed that the sound of the chest, the sound of the middle and the voice of the head occurs in women. The voice of a man's head is, according to David A. Clippinger is most likely equivalent to a woman's middle voice. This may mean the sound of a woman's head is the falsetto equivalent of a man. Although, in contemporary teaching, some teachers are no longer talking about the middle vote, choosing to call it a male-like voice. Falsetto is generally not counted by classical purists as part of any vocal range except the countertenors. But there are exceptions, such as Baryton-Martin that use falsetto (see baritone article).
Falsetto has been used in Mexican songs for generations. In Mexico, one of the greatest singers of falsete is Miguel Aceves MejÃÆ'a, a singer and actor in Golden Age of Mexican cinema, known as "Rey de Falsete", or "King Falsetto ". He sings over a thousand songs, such as "La MalagueÃÆ' a, El Jinete, La Noche y TÃÆ'º , and La Del Rebozo Blanco ", many of which use falsetto.
Many Hawaiian songs feature falsetto. In Hawaiian style falsetto - called "ka leo ki'eki'e" - the singer, usually a male, emphasizes the break between the registers. Sometimes the singer exaggerates a break through repetition, as a yodel. Like other aspects of Hawaiian music, falsetto is developed from a combination of various sources, including pre-European Hawaiian singing, early Christian hymn singing and immigrant cowboy songs and yogas, called "paniolos" in Hawaiian, during Kamehameha reigned in the 1800s when cowboys were brought from Mexico to teach Hawaiians how to care for cows.
Falsetto is also common in African folk music, especially the South African style called Mbube , traditionally performed by all the men of a cappella chorus.
The pop group Bee Gees had a strong commercial success using falsetto in the 1970s, especially in the disco genre. Frankie Valli usually sang in falsetto in the 1960s, as did many other singers in the Doo Wop style, in the 1950s.
Use in sing
Falseto is more limited in dynamic variations and tone quality than the sound of capital. Falsetto is not connected to the sound of capital except at very low volumes, which causes a vocal break when transitioning from the sound of capital. Most well-trained singers have at least one octave range that they can sing either in the voice of capital or falsetto. In the absence of modern vocal training to hold the volume of the capital, in this overlapping area the pitch given in the capital voice will be louder than the same tone sung in falsetto. The type of vibration of the vocal cords that produces the falsetto sound obstructs the loud singing except in the highest note of the list; it also limits the tone color available due to the simplicity of its waveform. The voice of the capital is capable of producing much more complex waveforms and unlimited tone color variations. Falsetto, however, involves less physical effort by the singer than the sound of capital and, when used properly, may allow some desired tone effect.
The sound of falsetto has a number of very special uses in the context of music. The following list includes the most common ones:
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- in rock music
- in R & amp; & B women
- by some singers (Irish), singers, and so on
- in barbershop music for tenor sounds (not always required) and sometimes with lead and baritone sound in certain settings.
- in yodeling
- for comic effects in both opera and musicals
- by falsettists, sopranists, male altos or countertenors
- in the male choir, to allow the first tenure to maintain a very demanding tessitura.
- for pitches that are above the registers of capital
- for the pianissimo tone that would be difficult to run in the modal list
- for vocal development
- as an alternative to overweight or filter to sound
Use in speech
The ability to speak in the falsetto list is possible for almost all men and women. The use of falsetto is considered uncommon in normal Western languages, and is most often used in the context of humor. However, the use of falsetto speech varies by culture and its use has been studied in African Americans and gay men in certain contexts. Its use has also been recorded in the US South. Changes to pitch from falsetto are also a characteristic of English English.
Some people who speak frequently or entirely on the falsetto list are identified by speech pathologists as suffering from functional dysfonia. Falsetto also illustrates for a moment, but often repeats, fluctuations in the field emitted by both sexes while undergoing sound changes during adolescence. These changes, however, are more obvious and occur with greater frequency in boys than they do with girls. Failure to make appropriate sound changes is called puberphonia.
See also
- Sounds creak
- Human voice
References
Further reading
- Appell, Thomas (1993). Can You Sing HIGH T Without Straining? . VDP. ISBN 978-0963233974.
External links
- The definition of falsetto glossary on the Virginia Tech website
- The story of falsetto in rock music at The Boston Globe
- Video: vocal trainer Kevin Richards explains the difference between falsetto and head voice
Source of the article : Wikipedia
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