REGISTERS
The subject of registers has always been the _bête noire_ of
vocalists, a source of controversy and confusion. The term "register,"
as commonly used, means a series of tones of a characteristic clang or
quality, produced by the same mechanism. The term "break" is generally
used to indicate the point at which a new register with sudden change
appears.
The advocates of registers lay stress either on the changes in
laryngeal action, or the changes in tone quality. Before the days of
the laryngoscope, registers were treated simply as different qualities
of tone, characterizing a certain portion of the voice's compass.
Those who encourage the cultivation of register consciousness claim to
do so for the sake of the differences in tone-color which they
associate with the different "registers." The purpose of the following
chapters is to show that the quality or color of a tone is altogether
a matter of resonance, and _not_ a question of laryngeal action.
Moreover, the mechanism of the larynx is not voluntary in its action,
but automatic, and even if a singer knew how the vocal cords should
act it would not help him in the least to govern their action. The
fact is that the results of laryngoscopic study of the vocal cords
have been disappointing and contradictory and investigators have
failed to define what correct laryngeal action is. There are those who
even deny that the vocal cords govern the pitch of the voice.
In her thoughtful _Philosophy of Singing_, Clara Kathleen Rogers,
while upholding "registers," says that considered physiologically "the
different registers of the voice should be regarded by the singer as
only so many _modifications in the quality of tone_, which
modifications are inherent in the voice itself." She then adds
significantly: "These modifications are not brought about by conscious
adjustments of the parts employed, as any interference with the parts
will produce that obstacle to quality we call a 'break.'"
One of the greatest of modern singers, Mme. Lilli Lehmann, in her
interesting work, _How to Sing_, says: "Do registers exist by nature?
No. It may be said that they are created through long years of
speaking in the vocal range that is easiest to the person, or in one
adopted by imitation." She speaks of three ranges of the voice, or,
rather, three sections of the vocal range, as chest, middle, and head,
saying, "All three form registers _when exaggerated_." After speaking
of the hopeless confusion that results from clinging to the
appellations of chest, middle, and head _register_, confounding voice
with register, she concludes:
"As long as the word 'register' is kept in use the registers will not
disappear, and yet the register question must be swept away, to give
place to another class of ideas, sounder views on the part of
teachers, and a truer conception on the part of singers and pupils."
The trend of recent thought on this subject is further shown in
Ffrangcon-Davies' important work, _The Singing of the Future_, where,
having in mind "the useless torture to which thousands of students
have been subjected," he characterizes "breaks" and "registers" as
"paraphernalia supplied by credulity to charlatanism"; and adds: "How
many a poor pupil has become a practical monomaniac on the subject of
_that break in my voice between D and D sharp_!"
My own studies convince me that there is but one register, or, rather,
no such thing as register, save as it applies to the compass of the
voice; and that chest, middle, head, and all other registers are
creations of false education. Training based upon the theory of many
registers results in an artificial and unnatural division of the
voice.
THE VOICE AND INSTRUMENTS COMPARED
The organ of the voice has long been considered the analogue of every
other instrument except in regard to registers. Investigation
indicates that it is analogous in this respect also. Compare the voice
instrument with the pianoforte, violin, and organ and the similarity
will plainly appear. The artificial instruments undergo no change when
making a tone of higher or lower pitch other than the attuning of the
vibrator to the pitch desired. All other parts remain the same. So
when the voice is correctly focused and delivered, the only change
incident to altered pitch is that made in the vibrator so as to give
the proper number of vibrations for the pitch required. If the scale
is sung down, using the same vowel sound for the whole scale, the
comparison will be appreciated; the pupil will not be conscious of any
change in the vocal organ or experience any difficulty in descending
the scale. Faithful advocates of the theory of many registers say:
"Whenever in doubt about the production of a tone, sing _down_ to it
from some tone above it, never _upward_ from a tone below," for they
find that singing down "blends the registers." This we believe is
because in singing down muscular and nerve tension is gradually
relaxed and consequently there is no "register" change in the voice.
A study of the church organ will, I think, make this matter clear. The
organ has many so-called registers, as the _vox humana_, _flute_,
_oboe_, etc. These differ in the character of tone produced, because
of the size and shape of the different sets of pipes and the material,
wood or metal, of which they are made. But each similarly constructed
set of pipes forms only one register, and the pitch of the set varies
from low to high without any abrupt change in quality. All the tones
are produced by the same methods and means, the bellows, the vibrator,
and the pipe. In length and diameter, the pipe is proper to the tone
produced: a short pipe of small diameter for the high tones, and a
long, wide pipe for the bass tones.
The short vibrations of the high tones are perceived by the ear as
affecting the air only, while the tones of the lowest bass pipes
shake the solid foundations as well as the superstructure. So with the
human voice. The coarser tissues cannot answer to the short vibrations
of the upper tones, because they cannot move so quickly, while they
can, and do, respond to the vibrations of the low tones. This may
cause some difference in degree, but not in kind. With all tones
focused alike, the low tones of the human organ may be regarded as
head tones plus the vibrations of the coarser tissues.
It has been said of registers that they are "acoustic illusions which
disappear in the perfectly trained voice." As soon as the singer has
learned to use his voice normally all these defective changes
disappear.
TWO CASES
The following incident illustrates the fact that registers are an
artificial creation: A young lady who had been a patient of the author
since her childhood studied elocution in a metropolitan city, and to
improve her voice took vocal music lessons of a teacher of more than
local repute. He found no end of trouble in teaching her to "blend the
registers," and she had utterly failed to acquire the art. One summer
she came back for professional services and told her troubles. During
the few weeks of her stay she followed the author's suggestions, and
was fully convinced of their correctness and efficiency. Upon
returning to her lessons, she followed, without any explanations, the
method that had been outlined for her. Her success in "blending the
registers" was a surprise to her teacher who heartily congratulated
her upon what she had accomplished during the summer.
Another case is that of a young lady who was under the author's
direction as to vocal culture from childhood. As early as four years
of age she was taught by the use of a few exercises to focus the voice
in the nose and head, and to recognize the head vibrations by a light
touch of the finger. When about seven years old, she took ten lessons
of a teacher on the same lines, and at fifteen years of age took
another brief course. In the meantime she had only the practice
obtained by singing with the pupils in the schools she attended.
Later, of her own volition, she sang more, and carefully applied the
principles she had been taught, with the result that her voice
compassed nearly two octaves, evenly and smoothly, with no break or
change of focus or quality, or other intimation of "register," and she
developed a speaking voice of more than ordinary quality and
resonance.
It has also been my lot to aid in the development of the voices of
many patients after a surgical operation for cleft palate. Success has
proven the correctness and efficacy of the principles set forth in
these pages.
A majority of the more than fifty authors whose works I have examined
have laid great stress on the distinction between head and chest
tones, open and closed tones, pure and impure tones, have warned
against the nasal tone, and have constantly advocated a natural tone.
That there is no essential difference between a head tone and a chest
tone has already been discussed and, it would seem, conclusively
proven. Any tone, closed or open, is pure and musical if properly
focused and delivered, and the singer is at liberty to use either upon
any note of the scale if it will serve better to express the sentiment
he wishes to convey to the hearer. The cooing of the love song, the
cry of alarm for help, and the shout of the military charge require
very different qualities of voice to express the feelings, yet each
may be musical and will be so if properly delivered.