Would someone on this list mind
> explaining these
> concepts in simple terms? Also, how can I discover
> for myself where
> the transitions occur in my own voice? (any
> exercises or anything?)
>
> Thanks,
> C.
>
IMO, it requires another pair of trained ears to
listen for registration events. But you can do a
little judging by the repertoire that feels
comfortable for you.
There are many different ideas about registration.
Some people contend that the entire voice is one
register (not a lot of help for, say, a young soprano
who can't seem to make all of the f#s in Elle a fui
work!), some say each note is a separate register
(which in a way I guess is true, but is of little use
in classifying voices!), and many subscribe to the way
Miller uses these words. Essentially, a register is a
range in the voice that has certain similar qualities
and in which the sound and production is inherently
different from that of the other registers.
I don't have the "official" definitions handy, but the
three register concept (Miller's)goes like this:
1. Chest register, which is similar to the speaking
voice. For females, this begins at your lowest range
and continues up to somewhere between middle C and G,
where the first transition (or passaggio) occurs.
2. Above this is middle or mixed voice, which many
describe as a combination of chest register and head.
Again roughly, this will go from the first transition
point and extend to about E flat to A flat five (the
second passaggio), depending on the voice type.
3. Above this is head voice, which extends until your
voice goes into whistle register, which really is a
somewhat separate entity, but is not really discussed
much, hence the THREE-register concept.
There is a page in Miller where he visually maps this
out. That is much easier to understand than reading a
description. It is somewhere around page 50 of SOS, I
think.
I find the first "lift", which is about a perfect
fourth below the second passaggio, and the second
passaggio to be the most helpful in classifying
voices. The first passaggio seems to vary for each
individual, whereas the "lift" and second passaggio
seem are usually consistent within each voice type.
Everyone seems to have their own idea about how these
concepts work and what their value is in the studio,
so I am certain we will be hearing many other ideas.
The above, however, is pretty much widely accepted
among vocal pedagogues. I hope I was clear; if I
screwed anything up I'm sure I'll hear about it!
Melinda
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