Vocalist.org archive


From:  chosdad@c...
chosdad@c...
Date:  Thu Dec 14, 2000  3:39 pm
Subject:  Re: BAROQUE TENOR


Dear Lloyd and List:

Lloyd wrote,"
> There is no need to create registers if they do not exist. The
traditional registration events for the male voice are chest voice and
head voice. And that is all. These registration events reflect vocal
fold function."

COMMENT:

First of all, let me thank you for your comments. These registration
questions are difficult, and the fact that we have repeated attempts
to discuss and resolve them I think indicates some of the
difficulties.

I understand the points you have made, and mostly agree. I would take
issue with your statement that "there is no need to create
registers..." My chart and discussion are taken directly from Richard
Miller's book on Tenor Voices: see Figure 1.4, "A schematic design of
lyric tenor registration events." The chart shows different areas of
the voice about every fourth or fifth, with names like "Lower Voice",
"Lower Middle Voice", "Upper Middle Voice", "Upper Voice", etc.

Then, on page 4, in his Figure 1.1 he explains that Lower Voice
means no activity of the cricothyroid muscles, Lower Middle means the
cricothyroids have begun to contract, in the Upper Middle the balance
of tension has shifted further towards the cricothyroids, etc.
Whether these statements are correct I do not know.

Further, in the text, Miller explains: "Research shows the
cricothyroid muscles show increased activity as pitch rises. The
vocal folds elongate and the mass of the vocal fold diminishes... In
an ascending scale, certain dynamic, as opposed to static, muscle
activity occurs at pivotal register points described as 'breaks,'
'lifts' or passaggi. There are corresponding changes in the resonator
system above the larynx."

I interpret this to mean that there are the two "registers" you
describe, but also other transitions that relate to resonance tuning,
leading to some sort of potential vocal glitch about every fourth or
fifth. In my voice, I experience the transition areas about every
fourth or fifth as Miller has described, starting around G3 below
middle C.

Cheers,

Michael Gordon


emusic.com