The Voice: Part 2

I know I should be feverishly rushing my studies in preparation for the mid-terms but I really want to revisit the topic regarding my voice.

I guess it has been a full one year since the revelation that I am a countertenor. Armed with an unusually strong falsetto, which requires little exertion to execute, I am able to reach notes far beyond the reach of most mature men. Nonetheless, I am still new to this mode of singing and there are much more knowledge and experience to be garnered in my training.

Since then, I have been trying to sing different songs catered to women and boy sopranos, and have discovered a great deal of weaknesses and deficiencies which I hope to surpass one day. As mentioned earlier, there is still much to learn and improve on when it comes to my "other" voice.

The chorale experiences in both RH and NUS Choirs have been enriching. I have learnt a great deal and met some people of my kind, who are evidently more skilled and beautiful in their singing.

I have read somewhere that being a countertenor is conscious choice. I can choose between singing in my baritone to low tenor modal voice or in my soprano upper range. I do admit that it is more comfortable to sing in the latter than the former since I somehow do not strain my throat so much. This really sounds almost contradictory because the opposite case is true for most guys.

If some of you have not known, the countertenor voices are very diverse. Some sound like men, while other can imitate a woman's voice so flawlessly, in which case, I would gladly refer to the Youtube star, Nick Pitera. I recall my NUS Choir senior telling me that I sound like an immature boy. I am not sure whether this is a good or not but well, I will accept God's gift with an open, loving heart.

I also recall that there is a social stigma against countertenors, who are perceived as social oddities, to the extent of being labelled as gays and transsexuals. I have been labelled a homosexual simply because I have belted out a screeching, high note in the presence of a few ignorant individuals. Partly, they ought not to be blamed as their perception may be conditioned by the social disapproval of countertenors. Such stigma is less pronounced in Europe, where the countertenor tradition is better established. In Asia however, we are in danger of taunts and ridicule.

What is it, really, about our high voices which sparks revulsion in some hearts? We are very much like any men, complete with the necessary sexual characteristic which defines our sex. In no way are we rendered impotent, either by nature or by the act of castrations. We are not castratos of the bygone era, who have given up their manhood to sing like angels. Admittedly, we do not equal them in breath power but we do seek to revive some of their songs in honour of their unique vocal identity. Additionally, there is a diversity of voices among countertenors as previously mentioned. If the high voice itself is a satisfactory reason to engender ridicule for our kind, I feel that the society is indeed in a sorry state.

I am still an amateur in the singing art of countertenor. Nonetheless, I do look forward to do better and play a part in perpetuating this singing tradition.