Mike wrote:
> so, i
> would have to ask how you would define registers. do you think it is where
> there is a change in the folds, a change in personal perception (that of the
> singer), a change in the acoustical dynamics, all of the above?
Dear Mike and list,
You bring up some excellent points. Without getting too scientific and
boring- to me, a register can be most readily defined by the muscular activity
during the three different voicing conditions. We may think of the three
different
voicing conditions as being 1) falsetto (not to be confused with the historic
use
of the term to denote "head-voice") 2) head-voice, and 3) chest-voice.
Hirano
proposed a very useful model for the vocal registers. In his "two-register"
model, he asserts that as the pitch goes up or down in a trained singer, the
activity of two muscles, the TA (Vocalis) and CT (Cricothyroid) are in a
constantly changing balance of strength or activity. Hirono goes a bit further
and labels the TA the "register muscle" and the CT the "pitch muscle."
Do I think there is a change in the folds during different register
points-
absolutely. I wrote on the list a few weeks back that Titze discovered when
the
TA contracts, the underside of the VFs become rounded or bulged. From what
I've learned- the cross sectional shape of the folds have significant
implications
concerning ease of phonation.
Mike wrote:
and, are
> you speaking in terms of classical usage or, does this apply to the voice
> regardless of usage (as in the use or 'misuse', if you prefer, for other
> styles)?
>
When I spoke of the F4 as being the top of the chest-register I was
speaking
ONLY about classical voice use. For certain styles a singer would need to
make different choices. That's perfectly fine too:)
Take Care All,
Taylor L. Ferranti
DMA Candidate in Vocal Pedagogy
Louisiana State University
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