REGISTERS
Closely allied with the question of “placing” is that of “registers,”
which has been the subject of so much controversy at various times.
There is not even agreement as to how many registers there are--or even
if there are any at all.
For while some take the view that there are no such things, others speak
variously of two, three, four, and even more natural and inevitable
divisions in the range of the average voice which can only be properly
distinguished from one another in this way.
Some, I believe, even maintain that each individual note should properly
be regarded as a different register. But this suggestion I think can
scarcely be intended seriously. For if each individual note really does
constitute a separate register, what is gained by talking of registers
at all?
There is, however, no denying that there are certain marked differences
in the case of every voice in the quality of the tone produced at
different parts of its range or compass--differences of tone quality
which are accompanied also by different sensations on the part of the
singer; and to these different sections of the vocal range the name of
registers has been given.
Usually three are recognised--chest, medium, and head, the term chest
register being applied to the lowest notes, medium to the middle
portion, and head to the highest.
The terms chest, medium, and head are derived from the sensations
experienced by the singer in producing the different notes referred
to--the lower ones giving the feeling of having been produced in the
chest, the middle ones in the throat, and the highest ones of all in the
head. But it should be understood that in actual fact there is no
difference in the manner in which the various notes are produced.
All the notes of the voice, whether high or low, are in reality produced
in the same way, namely, in the manner already described--by the passage
of the air from the lungs through the “chink” formed by the vocal cords.
In the case of the lower notes, however, owing to certain physiological
causes, the vibrations are felt by the singer most strongly in and about
the chest, and in the case of the higher ones in the head--whence,
therefore, the somewhat misleading terms in use have been adopted.
At the same time the fact that these different sensations are
experienced by the singer may be taken as the best possible evidence of
the fact that there are definite differences in the method of tone
production to account for them; and this view of the matter is in fact
confirmed by the researches of physiologists.
There is no need, of course, for vocalists to concern themselves with
the matter in detail, for the process involved is, of course, entirely
(or almost entirely) automatic. But it is none the less explained by the
physiologists quite clearly why there is, at a certain point, this
difference of feeling on the part of the singer in passing from the
lower notes to the higher ones.
Without going too minutely into the matter, the reason broadly stated is
that the vocal cords are differently disposed in the two cases. Up to a
certain point the successive tones are produced in one uniform way, and
then above that point the method is modified; and it is this difference
accordingly which is accountable for the distinctive sensations
experienced by the singer--sensations, it may be added, which have been
recognised and discussed ever since the art of singing has been studied.
Hence, it is quite a mistake to suggest, as has been done by some, that
the whole notion of registers is a delusion. These different registers
do undoubtedly exist, and it becomes one of the most important problems
consequently to get rid of the “break,” or change in the tone quality,
which occurs when the voice passes from one to the other. At the same
time it does not follow that violent and artificial methods should be
adopted for this purpose.
On the contrary, little else than steady and properly directed practice
is required in the ordinary way to accomplish this. In fact if you get
your breathing right and your tone production in general right, the
register difficulty will probably solve itself. To put it in another
way, if you ensure that each individual tone is right, the problem of
the registers need not seriously trouble you; and this is a matter of
paying attention to the general rules of sound tone production.
Special exercises are, however, usually given for the purpose of
“equalising” the voice, as it is called, that is to say, for the purpose
of ensuring a perfectly even and uniform quality of tone throughout the
scale and avoiding the break at the change of register which has been
referred to; and these exercises are no doubt useful.
Most of the best authorities are agreed that proper breathing has as
much to do with the matter as anything, some even going so far as to say
that the matter should not be mentioned to the student at all. This is
perhaps a somewhat extreme statement, but the underlying principle is
sound. And here, as always, the principle of absolute ease and
relaxation and the avoidance of all unnatural muscular contraction or
violent effort is at once all important.
The following is generally conceded to be a well-thought-out method of
uniting the voice wherever the “break” occurs.
[Illustration]
Sing this passage _Messa di Voce_ ascending and descending, commencing
where the break is first noticeable. If this is practised consistently
for two or three periods of twenty minutes a day it should be effective
in preventing this unpleasant defect. Begin firmly, using “ay,” “oh,” or
“ee,” and swell out to fullest capacity. Then let the tone die away
imperceptibly and be careful not to use falsetto. By doing the foregoing
we have augmented the head tones to such an extent that instead of
having falsetto, we have a head voice capable of being allied to the
chest voice with practically no distinguishable break in the whole
compass.
Contraltos are the greatest sinners with the “break.” Very few
contraltos are able to change the registers or sing two octaves without
a perceptible gap. At one time this vulgar habit was considered a
virtue when in reality it is a clear indication of lack of study and
practice.
Remember that no matter where the “break” occurs it is only by
cultivating the head voice that a cure can be attained.
Then, again, almost everybody has one or two tones more or less
defective, and wherever these occur special attention must be given them
so that they can be built up until the singer can safely overcome the
“break.”