ABCM

eflex

ction

.A

reflex

)7&o7ko 3`FUR ,RGxG.xG |n c.Xi |sGz nI cz<_ 4 |GizXni <niz<Xnz`

action occurs without the conscious

direction of the mind.

Breathing is a conscious act which has become reflex

. W e can breathe

at will, i.e., when and how we desire to do so. The digestive process

is altogether reflex

W hen the singer attack

technic becomes second nature (reflex

have become reflex

. The correct

). W here incorrect adj

, these undesirable reflex

ustments

es must be brok

en down

if the singer is ever to produce his voice properly.

egistration denotes the arrangement, or co-ordination, of the muscles

of the larynx

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s and produces the tone correctly a certain

number of times, his technic becomes more or less reflex

5

There are two main types of muscular tension: consciously

controlled and reflex

which stretch the vocal cords and hold them in tension

against the pressure of the breath. There are two sets of muscles which

stretch the vocal cords. There are, therefore, two, and only two, regis-

ters

the F

alsetto R

cles) and the Lower R

egister (posterior and lateral crico-arytenoid mus-

egister (crico-thyroid and thyro-arytenoid

muscles). The registration action is primarily the mechanism for regu-

lating the intensity of the tone when the technic is correct.

egistration does not primarily control pitch ranges but rather inten-

sity. I

t is true that the falsetto register becomes progressively weak

er

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

as the pitch descends and does not go as far down as the lower register.

t is also true that the falsetto register can be carried an octave higher

than the lower register. Nevertheless, the two registers overlap through-

out the main body of the voice and the function of the registration

action pertains, primarily, to the control of intensity. The falsetto

register is responsible, in a large measure, for the range, q

uality, and

soft effects of the voice. The lower register gives strength, power and

health to the vocal apparatus.

Balanced

n work

ing out the voice both registers must be isolated

and balanced (opened together). The falsetto must not be carried

up more than an octave above the highest tone which can be pro-

duced in the lower register. F

urthermore, a proper intensity balance

must be established and maintained between the two registers in

all stages of the development. W hen one register is definitely

stronger than the other, the eq

uilibrium of the larynx

0L0R375So nx^XiP n| |RG nX<G 7n|R xGPXz|Gxz cz| 7G Xzn_.|G@

The registration action may be paralleled to the stringing of a

piano. The piano string is attached, at the back

, to a little metal peg

and, at the front, to the pin. The string is tightened, and the pitch

wise direction, and vice versa.

This tightening action corresponds to the crico-thyroid tension. The

firmness of the little peg at the back

tension. I

crack

crack

corresponds to the arytenoid

give"

(move), or if the pin block

ed, the piano cannot hold its tuning. A

ed the piano will not hold its pitch

the back

15

f the peg were to "

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RG.`|R |n |RG n<.` .ss5.|z

is destroyed

and the voice will deteriorate.

raised, when the pin is turned in a clock

)7@F\`Y0`FURo @Gin|Gz |RG .vx.iPGcGi| nx <nnx@Xi.|Xni nI |RG cz<`Gz

is

lso, if the bridge is

the bridge also constitutes

attachment of the string. The back

and front attachments

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of the string must be firm and hold, if the piano is to retain its tuning.

Both arytenoid and thyroid muscles must be strong if the larynx

is to hold its tuning. F

back

urthermore, the strength at both front and

ends must hold and, if either one outpulls the other, the string-

89

ing is destroyed and the pitch will waver and become untrue.

Break

There is a "

break

,"

or "

gap,"

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between the two registers until

a very high stage of development has been attained. The break

O ccurs because the loudest tone which can be produced in the

falsetto, at any given pitch, is not strong enough to meet the softest

tone which can be produced, without constriction, in the lower

register, at the same pitch. The break

is more noticeable in a woman'

voice because she uses both registers in performance. H owever, when

she can use the lower register up to about middle A

or B flat, it is

hardly apparent, provided that the registers are matched properly

and the resonance adj

ustment is pharyngeal. This is because the

intensity of this B flat, sung in the pure falsetto, does not drop so

much as to destroy the intensity line at M.F

W hen pure, open, fully developed registration has been estab-

lished, the register change occurs at E

clef

flat

top space on the treble

when the intensity is forte. Thus, in singing up a scale, at full

voice, starting in the lower register, the change into the falsetto

flat, if a normal intensity line is to be maintained:

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

occurs at this E

flat, sung in the falsetto, is slightly louder than the D natural

below it, sung in the lower register. A

t a lower intensity level the

change occurs lower, and at higher intensities the lower register may

be employed up to almost any pitch.

t is absolutely destructive for the singer to endeavor to "

the registers, or eliminate the break

blend"

, at too early a stage of the

technical development, because this attempt inevitably leads to

mix

ed registration, ex

The break

ex

treme throatiness and ultimate loss of voice.

need not be a technical bugbear. I

n fact, little trouble is

perienced with it, if the training process is carried out properly.

This problem of the change of register and the break

become so poignant with men'

about an octave lower than women'

is the same for both sex

s. The transition tone

hest V

flat

es, and this tone is of higher pitch than any

tone written in the literature for men'

does not

s voices, because they are pitched

s voices.

oice describes the sensation which some people feel, or imagine

they feel, for the lower tones of the voice. The trachea and bronchi

are, indeed, added to the resonance system for low tones. This does

not mean that the "

"

felt in the chest"

voice is in the chest."

H owever, vibration can be

because these cavities are resonating. This has

nothing to do with registration.

Many women with big voices use an ill-defined lower register

adj

on the lower register is avoided.

This gives the impression of the low tones being "

ever, the adj

chest tones."

ustment changes and some teachers mistak

a register change. S

16

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4  
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ustment for their lowest tones, even when not told to do so and

when all properly conducted work

uch "

chest tones"

H ow-

enly call this

are always somewhat mix

ed,

6L

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tgcu[npcr l] ecX_c^Wh

and for this reason they are dangerous, because if a mix

@ b: ' :  : @$  Fg  '7@ !:
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3

ed lower

register is carried up, the voice is destroyed.

o-ordination of the R

egisters

The registers are co-ordinated when

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the singer can swell smoothly from the falsetto to the lower register

without any q

uality transition or break

occurs only at an ex

tremely high stage of development. I

attempted too soon, mix

ruined. A

, and vice versa. C

o-ordination

f it is

ed registration ensues and the voice is

ctually, co-ordination occurs more or less automatically

when both registers are fully developed and balanced, and when

complete opening has been established. Premature co-ordination of

the registers is most harmful. I

t occurs when the break

is eliminated

before complete opening and pure, balanced registration has been

established. I

t leads to ex

treme throatiness, mix

ed registration and

complete loss of voice.

alsetto R

register,"

egister

scientifically preferable term would be "

arytenoid

because the tension on the vocal cords is held, as the tone

'**#/ '*&/ ' P   ! 

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 N

is swelled in this register (through its intensity range), against the

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pressure of the breath by means of additional tension on the aryte-

noid muscles. This register is in action at the lower intensities and

it becomes more prominent as the pitch rises. Pleasing q

uality, high

tones and soft singing depend primarily upon the proper isolation

the "

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

and development of the falsetto register. The falsetto tension "

stringing"

holds"

of the vocal cords at their posterior attachment.

The falsetto register is pure when, at any stage of development,

no added tension on the lower register muscles has come into action,

and when there is no mix

ed registration.

The possession of a pure falsetto register is essential to good

uality, power and range. No legitimate control of intensity is pos-

sible unless the falsetto is pure.

W hen this register is undeveloped, there is a pronounced break

between it and the lower register.

H ead R

egister indicates the adj

the upper tones. I

adj

ustment employed by some pupils for

t refers to a pitch range and not to a muscular

ustment in the larynx

The middle tones are often designated "

open"

tones, not because

the throat is open, but because they are white and shouty. This

relatively loud type of singing gives an impression of "

/ '*&/ '

'   
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openness."

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These shouty, white tones will not go up, so a deliberate augmenta-

tion of the degree of throatiness must be induced by a relax

ation of

the genio-hyo-glossus muscles. The dropping of the tongue, which

accompanies this induced constriction, mak

fore, they call such tones "

dark

head tones"

es the tone dark

or "

. There-

covered tones."

The

ness and constriction do indeed give the impression of some-

thing happening "

in the head."

The singer who uses "

head tones"

or "

covered tones"

cannot sing

a legato passage and he cannot connect tones, because he has to be

constantly changing the adj

ustment. Therefore, he is forced to break

the musical line.

17

.z

: a\bsbyzRz

zob\bz
3g =VNg

NDAO<HIALz F=z CB8?A>5Ez

"

H ead"

or "

covered"

tones shut off the voice, mak

k
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d
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K

e it ever increas-

ingly throaty, and render it impossible for the singer to interpret the

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music artistically.

solated R

human voice. I

mix

 
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s

egistration is essential to the procedure used in training a

f this isolation is not established in the early stages,

ed registration ensues and the voice is destroyed. I

solated regis-

tration has been engendered only when a pure falsetto register and a

pure lower register have been established.

Lower R

egister

register,"

scientifically preferable term would be the "

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because the tension on the vocal cords is held against the

pressure of the breath as the tone is swelled in this register (through

its intensity range (loud)) by means of additional tension on the

thyroid muscles. The lower register is in action for the higher inten-

sities and for the lower pitches. The purity of the lower register is

dependent upon the purification of the falsetto, and vice versa. A

normal loudness the lower and middle tones of a woman'

s voice

should be sung in this register, and it should be employed at and

above normal intensity, throughout the entire range, in men'

which are pitched about an octave lower than women'

s. A

stage of development, even the high tones of a woman'

s voice should

be sung in this register, when the intensity is fortissimo. F

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

s voices,

t a high

or pianis-

simo effects on very high tones, a man may legitimately employ the

pure falsetto. A

well-produced speak

ing voice, of both sex

es, is

dependent upon the establishment of a pure, fully developed lower

register (crico-thyroid and thyro-arytenoid muscles).

The lower register tension stretches the vocal cords and "

their stringing at their anterior attachment. A

holds"

ll falsetto tension, for

any given tone, must be present in the lower register, if the vocal

cords are to hold their "

relax

(mix

stringing"

es, the lower register mix

properly. I

es and ex

f the arytenoid tension

cessive thyro-arytenoid tension

ed registration) comes into play.

The lower register is pure when the added tension on the thyroid

muscles comes into play in co-ordination with all the arytenoid ten-

sion which can be maintained at the given stage of development. A

the same time, there must be no ex

cessive thyro-arytenoid tension.

The pure lower register may be somewhat crude or noisy in

the early stages of development, but when it has been developed

sufficiently and resonated properly, it matches the falsetto and it is

then of eq

ually pleasing q

Matched R

egistration must be undertak

uality.

en as soon as pure, "

open,"

isolated registration has been established. The registers are matched

when the resonance adj

ustment, i.e., the position of the tongue,

remains constant for both registers sung at the same pitch, with the

same vowel and vowel color. Thus, when a tone can be sung in the

falsetto (posterior and lateral crico-arytenoid muscles) at a given

intensity and also sung in the lower register at, of course, a higher

intensity, the registration is matched when the resonance adj

lG~y D!%  

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ustment



  




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is the same for both registers.

18

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egister does not refer to registration in the sense in which

the term has been used in this book

.S

ome teachers never establish

pure registration and do not permit their female pupils to employ

the pure lower register. Therefore, the middle tones inevitably be-

come thick

and mix

ed. This forced, thick

then employed for the middle tones. V

sort of mix

, mix

ed falsetto technic is

ery low tones are sung in a

ed lower register and upper tones in a relatively pure

falsetto

this falsetto is actually always throaty and it is also some-

what mix

ed. The high tones are generally shrill. H owever, the

middle tones are very pronouncedly mix

ed. The effect of such train-

ing is that three so-called registers appear: A

for the low tones, a mix

mix

ed lower register

ed falsetto for the middle tones, and a rela-

tively pure falsetto for the upper tones. Under these circumstances

there are three pitch ranges which are characterized by three differ-

ent voice q

ualities and three different

O f course, this mix

incorrect

adj

ustments.

ed middle register for the middle tones must

be eliminated, and pure registration must be established if the pupil

is to learn how to produce his or her voice properly.

Mix

ed F

alsetto R

egister

Mix

ed falsetto registration occurs when both

the lower register and falsetto are undeveloped. This lack

of develop-

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-/ (**#/ (*&

ment is more pronounced at the thyroid (lower register) end, i.e.,

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

the crico-thyroid muscles are relatively weak

muscles. The length of the vocal cords is look

er than the arytenoid

ed after by ex

cessive

thyro-arytenoid tension.

Mix

ed falsetto registration is engendered when the falsetto register

is sung with pronounced constriction and pushed

forced. The

resultant tone is very throaty and generally shrill. The higher tones

may be loud, sometimes very loud and very shrill;

lower tones are always very weak

is sung, the worse the mix

of the tone. A

ture and the more unpleasant is the q

relatively wide range may be covered in the mix

falsetto, but the higher tones are mere "

Mix

the middle and

and thin. The louder this register

ed Lower R

sq

egister is similar to the mix

ueak

voice"

ed falsetto ex

uality

ed

or screams.

cept inasmuch

as the falsetto muscles (posterior and lateral crico-arytenoid muscles)

are more undeveloped than the lower register muscles (crico-thyroid

and thyro-arytenoid muscles). Thus, the mix

ed lower register is

derived from the lower register rather than from the falsetto.

The thyro-arytenoid muscles are in ex

after the pitch adj

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cessive tension and look

ustment to a greater ex



 
 
  


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tent than they should if

they were acting in their proper function.

The q

uality of a mix

than that of the mix

ed lower is even more harsh and unpleasant

ed falsetto register. The middle tones are very

throaty, generally thick

, and often white. The highest tones which

can be reached are very throaty indeed and absolutely white and

shrill. The middle tones may be loud, but the low tones are weak

and the high tones are generally lack

Mix

ed R

egistration

Mix

ing.

ed registration occurs when both the falsetto

and the lower register are undeveloped and the establishment of the

19

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pitch becomes primarily a function of the thyro-arytenoid muscles

(shortening of the vocal cords). Mix

panied by ex

ed registration is always accom-

treme throatiness and unpleasant q

condition is pronounced, there is no break

'

uality. W hen this

between the registers and,

in many cases, a rather wide range of most unpleasant noises can be

produced in constriction. C

omplete mix

ed registration is the worst

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of all technical faults.

Mix

ed R

egistration (I

nduced)

f a tone is sung in ex

tion in either register, the muscular condition of mix

generally occurs. A

treme constric-

ed registration

voice which has not become permanently mix

muscularly can produce tones which ex

ed

hibit the same physical char-

acteristics despite the fact that the space between the hyoid bone

and the thyroid cartilage has not been permanently closed. This

space can close for an ex

tremely badly-produced tone, before the

permanent condition has been established. O f course, persistence in

such singing will result in permanent muscular mix

ed registration.

Mix

n cases of permanent

ed R

egistration (Permanent Muscular)

muscular mix

"Fk85o *8@F\_Y/_FURo (8YQ/R8R_o "e\4eM/Y So H=Q [ Qz=|Q|

ed registration the thyroid cartilage is rotated upward

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giQ i[ =z uQ==|
g=g
g= =ui =|Ni [=ieQ
=iNt

to meet the hyoid bone, so that the space between the thyroid car-

tilage and the hyoid bone is nearly or completely closed. This con-

dition may be felt by inserting the index

fingers between the hyoid

t indicates an ex

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

bone and the thyroid cartilage. I

and a poor q

tremely bad technic

uality voice.

The individual who does not sing, but who employs a mix

ed

register technic for his speak

ing voice, is often found to ex

physical manifestation of mix

ed registration. A

speak

this type is of a most unpleasant, harsh, throaty q

hibit this

ing voice of

uality and it fatigues

rapidly.

O ctave R

eflection Between the R

established, there is an ex

egisters

W hen registration has been

act octave reflection between the falsetto

and the lower register. This is true of both "

and throaty tones. A

open"

well-produced

s the lower register is carried up and opened,

the falsetto must also be similarly carried up and opened. I

carried up to a pitch ex

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t can be

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actly one octave higher than the highest

tone which can be reached in the lower register sung with the throat

opened. F

or ex

ample: I

f middle G is the highest tone that can be

sung with the throat opened in the lower register, the G, one octave

higher can be sung "

open"

in the falsetto. The G sharp, one semitone

higher, cannot be sung without constriction.

O n the other hand, if the lower register is carried up in constric-

tion, a throaty falsetto register can be derived from it one octave

higher. Thus, because the lower register can be carried up ex

high if it is sung in constriction, incredibly high "

sq

ueak

the falsetto register can easily be found. Double-high C

the E

flat above, can easily be reached

ueak

s do not constitute singing

tremely

tones"

in

, or even

if the voice is throaty

enough. This procedure is terribly harmful, utterly futile

such sq

because

and it must be avoided. A

ll

tones, in both registers, must be opened, and only opened tones

20

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[ QR QGg|iG=t[=t

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sung. Both registers should be carried up relatively slowly, one semi-

tone at the time. H owever, the octave reflection must, at all stages,

be meticulously adhered to, or mix

ed registration and throatiness

will result with the accompanying loss of voice.

The octave reflection does not apply to men'

s voices, because they

cannot put forth sufficient energy to produce loud enough tones at

such high pitches. Physiologically, however, it is true for both sex

Unbalanced

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egistration is unbalanced when both registers have

been isolated and established, with one more developed

than the other. I

stronger

t is absolutely essential that this condition be cor-

rected immediately. No further development of the stronger register

should be permitted, until eq

ualized development between the two

registers has been established. This is not co-ordination. I

t is a con-

dition which must persist through all stages of the training process,

once it has been established.

elax

ing the Throat

not produce sound. S

ee F

f the throat were really relax

orward V

oice.

f proponents of this notion mean "

ed, a singer could

oice Production and F

relax

ocussing the

the muscles of the neck

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it would be much better to say so, because these muscles come into a

high degree of tension when the muscles of the throat, i.e., genio-hyo-

Generated for Nathan Daniel Lee (Brown University) on 2014-09-13 23:58 GMT / http://hdl.handle.net/2027/mdp.39015031040572
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google

glossus muscles, relax

W hen the tongue is relax

ed the tone is throaty. The throat is the

resonator of the tone in good technic. I

t is only out of action in phona-

tion, when the technic is bad (throaty).

esonance A

for the pick

dj

ustment indicates the shaping of the resonance cavities

ing out, or resonation, of the bands of freq

determine the vowel. R

esonance adj

uencies which

ustment is possible only when the

cavities can assume a wide variety of shapes and sizes.

or the human voice, resonance adj

ustment is made with the pharyn-

geal cavities when the technic is correct and with the mouth when it

is throaty

incorrect.

esonance adj

mouth

ustment implies the "

tuning"

of cavities

for the resonation of the vowel bands of freq

pharynx

uencies of the

particular fundamental and its overtones which are generated at the

larynx

O pen

Maj

or O pening

Most voices are constricted, or throaty, at the

start of the training process. A

first maj

or change from constrictor

to opening tension must, then, be engendered. The tongue muscles

(genio-hyo-glossus muscles) must be brought into tension, and

when this action is established for the first time, the voice suddenly

"

opens up"

to a very mark

ed degree. The increase in power, which

results when a constricted voice opens up, may be very startling.

This opening often occurs suddenly. I

opening,"

21

t may be termed a "

maj

and it must be met with a very pronounced increase in

or

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