VOCAL REGISTERS 



447 



tially, as regards the action of the glottis, from that of the full chest- 

 register, shown in Fig. 94. 



The falsetto-register in the male undoubtedly involves such a division 

 of the length of the vocal chords that only a portion is thrown into 

 vibration. There is always an approximation of the chords in their 

 posterior portion, and sometimes also in their anterior portion. This 

 is illustrated in Fig. 95. 



The mechanism by which the vocal chords are approximated in por- 

 tions of their length has not been satisfactorily explained ; but laryngo- 

 scopic examinations leave no doubt of the fact of such action. The 

 extent of this shortening of the chords must vary in different persons 

 and in the same person, probably, in the production of falsetto-notes of 

 different pitch. According to Mrs. Seiler, the shortening is due to the 



Fig. 95. Appearances of the vocal chords in the production of the falsetto-voice (Mills). 



I, the larynx during falsetto-production; after Mandl. II, the larynx during the emission of falsetto- 

 tones ; middle range ; after Holmes. Ill, the larynx of the female during the production of head-tones, 

 as seen by the author (Mills). 



action of a muscular bundle, called the internal thyro-arytenoid, on little 

 cartilages extending forward from the arytenoid cartilage in the substance 

 of the vocal chords as far as the middle of the glottis ; but careful 

 dissections have failed to confirm this view. 



Some singers, especially tenors, have been able by long practice 

 to pass from the chest to the falsetto so skilfully that the transition 

 is scarcely apparent ; but the falsetto is wanting in what is called vibrant 

 quality. 



Vocal Registers in the Female. There is no difference between the 

 vocal mechanism of the chest-voice in the sexes. In the best methods 

 of teaching singing, one important object is to smooth the transition 

 from the chest-voice to the lower medium. The full chest-notes, espe- 

 cially in contraltos, closely resemble the corresponding notes of the 

 tenor. 



