403 



Production of the Falsetto. 



The low notes of the falsetto, fe sol, la|>, lab], 



fe: 5^: 2 2 2 



show the glottis infinitely better than the unisons of the chest-voice 

 and produce vibrations more extended and more distinct. Its 

 vibrating sides, formed by the anterior apophyses of the arytenoid 

 cartilages, and by the ligaments, become gradually shorter as the 

 voice ascends ; at the notes la, si, %=^=&=, the apophyses take 



part only at their summits ; and in these notes there results a weak- 

 ness similar to that which we have remarked in the chest-notes an 

 octave below. At the notes do$, re, ifcrfrr - ', the ligaments 



4 4 ^ ' 



alone continue to act ; then begins the series of notes called head- 

 voice. The moment in which the action of the apophyses ceases, 

 exhibits in the female voice a very sensible difference at once to the 

 ear and in the organ itself. Lastly, we verify, that, up to the highest 

 sounds of the register, the glottis continues to diminish in length 

 and in width. 



If we compare the two registers in these movements, we shall find 

 some analogies in them : the sides of the glottis, formed at first by 

 the apophyses and the "ligaments, become shorter by degrees, and 

 end by consisting only of the ligaments. The chest- register is 

 divided into two parts, corresponding to these two states of the 

 glottis. The register of falsetto-head presents a complete similarity, 

 and in a still more striking manner. 



On other points, on the contrary, these same registers are very 

 unlike. The length of the glottis necessary to form a falsetto note, 

 always exceeds that which produces the unison of the chest. The 

 movements which agitate the sides of the glottis are also aug- 

 mented and keep the vibrating orifice continually half opened, which 

 naturally produces a great waste of air. A last trait of difference, 

 is in the increased extent of that elliptic surface. 



All these circumstances, which we shall refer to again, show in 

 the mechanism of the falsetto, a state of relaxation, which we do not 

 find in the same degree in the chest-register. 



Manner in which the sounds are formed. 



As we have just said, and what we have seen proves it, the in- 

 VOL. \II. 2 Q 



