496 MOVEMENTS VOICE AND SPEECH. 



goes in the production of different notes, the uvula acts with the velum and 

 assists in the closure of the different openings. In singing up the scale, this 

 is the mechanism, as far as the chest-notes extend. When, however, a 

 singer changes into what is sometimes called the head-voice (falsetto), the 

 velum palati is drawn forward instead of backward, and the resonance takes 

 place chiefly in the naso-pharyngeal cavity. 



Laryngeal Mechanism of the Vocal Registers. One difficulty at the very 

 beginning of a discussion of this subject is in fixing upon clear definitions of 

 what are to be recognized as different vocal registers. In the first place it 

 must be understood that the singing voice is very different from the speaking 

 voice. Without being actually so far discordant as to offend a musical ear, the 

 ordinary voice in speaking never has what may strictly be called a musical 

 quality, while the perfect singing voice produces true musical notes. This is 

 probably due to the fact that the inflections of the voice in speaking are not 

 in the form of distinct musical intervals, that the vibrations follow each 

 other and are superimposed in an irregular manner, and that no special effort 

 is made to put the vocal chords upon any definite tension, unless to meet a 

 more powerful expiratory effort when the voice is increased in force. A 

 shout or a scream is entirely different from a powerful, singing note. This 

 difference is at once apparent in contrasting recitative with ordinary dialogue 

 in operatic performances. 



The divisions of the voice into registers, made by physiologists, are some- 

 times based upon theories with regard to the manner of their production ; 

 and if these theories be not correct, the division into registers must be equally 

 faulty. Again, there are such marked differences between male and female 

 voices, that it does not seem possible to apply the same divisions to both sexes. 

 There is no difficulty, however, in recognizing the qualities of voice, called bass, 

 barytone and tenor, in the male, or contralto, mezzo and soprano, in the 

 female. A division of the voice into registers should . be one easily recog- 

 nizable by singers and singing teachers ; and this must be different for male 

 and female voices. If a division were made such as would be universally 

 recognized by the ear, irrespective of theories, it would remain only to as- 

 certain as nearly as possible the exact vocal mechanism of each regis- 

 ter. It must be remembered that the voice of a perfect singer shows no 

 recognizable break, or line of division between the vocal registers, except 

 when a difference is made apparent in order to produce certain legitimate 

 musical effects. One great end sought to be attained in training the voice 

 in singing is to make the voice as nearly as possible uniform throughout the 

 extent of its range ; and this has been measurably accomplished in certain 

 singers. 



Judging of different registers entirely by the effect produced upon the ear, 

 both by cultivated and uncultivated singers, the following seem to be the 

 natural divisions of the male voice : 



1. The chest-register. This is the register commonly used in speaking. 

 Though usually called the chest-voice, it has, of course, no connection with 

 any special action of the chest, except, perhaps, with reverberation of air in 



