Caitlin Craig McKinney Chapter 6

List 5 usages for the term register. A particular part of the vocal range (upper, middle, or lower register), a resonance area (chest or head), a phonatory process, a certain timbre, and a region of the voice which is defined or delimited by vocal breaks. 

What are the 3 elements of the definition of register? A certain vibratory pattern of the VF's, a certain series of pitches, and a certain type of sound. 

All registers originate in laryngeal function. 

The terms head voice and chest voice are more legitimate as descriptions of resonance sensations. 

Many of the problems identified as register problems are really problems of resonance adjustment. 

According to McKinney, what are the 4 distinct vibratory forms (registers)? The modal voice (natural/normal), vocal fry, falsetto, and whistle. 

For each register, summarize what you have learned about it.  Include information about  vibratory pattern,  pitch range, characteristic sound, and uses.

1. The Vocal Fry Register- sometimes called the pulse register. Vocal fry requires a loose glottal closure which permits air to bubble through with a popping or rattling sound of very low frequency. Its mean fundamental frequency is 36.4 hertz. Vocal fry used sparingly is a routine pattern of some speaking patterns. In singing, basses use vocal fry at times to sing pitches that are below the range of the modal register. They can at times sound like the bass of an organ.  However, this should not be used as the exclusive means of phonation, nor should a singer attempt to carry it up into the modal voice. It may be used therapeutically to improve the lower part of the modal register, but excessive use can result to vocal problems.

2. The Modal Voice Register- referred to as the normal register for speech and singing. It has a broad harmonic spectrum with rich overtones because of the rolling motion of the VF's (The glottis opens from the bottom first before it opens at the top). It is comparatively loud because of the vibratory energy present, but is capable of various dynamic changes. For the lowest tones, only the TA muscles are active, but as the pitch rises the cricothyroids join in, thus beginning to lengthen the folds. As longitudinal tension increases, the glottis tends to develop a gap in the middle. To counteract this tendency, the lateral cricoarytenoids are brought into action, pulling forward on the muscular processes of the arytenoids. This process is called medial compression. The modal voice can cover more than two octaves in range. This is only possible, however, if the singer avoids static laryngeal adjustments and allows the progression from the bottom to the top of the register to be a carefully graduated continuum of readjustments. The basic vibratory pattern remains the same, with the whole VF still involved in the action, but the vertical excursions are not as large and the rolling motion is not as apparent as it was on the lower pitches of the register. The great majority of singers sing primarily in the modal voice. 

3. The Falsetto Register- lies above the modal voice register and overlaps it. The timbre of falsetto is inherently breathy and flute-like, with few overtones present. The vibratory pattern for falsetto is only the ligamentous edges of the VF's enter into the vibratory pattern. The difference between modal register and falsetto register is the amount and type of vocal fold involvement: in falsetto, only the ligamentous edges of the folds enter vibration - the main body of each fold is more or less relaxed; in modal voice, the wave-like motion involves the whole VF, with the glottis opening at the bottom first, and then the top. Most trained singers have at least an octave of range which they can sing in either modal voice or falsetto. The tone colors are limited because of the simplicity of wave form being produced. Falsetto is used in: yodeling, comic effects, males use it to maintain high tessituras, countertenors, pianissimo tones that are difficult in modal register, and for vocal development.

4. The Whistle Register- the very highest phonational register, occupying the frequency range just above the female falsetto (1047-3136 HZ). These tones resemble the sounds of a whistle and can also be described as a flute, small, and superfalsetto. "When the laterals are active but the transversus inactive, a triangular opening is seen between the arytenoids, the vocal processes contact each other, but the posterior parts at the apex do not contact each other. This is true provided that the VF's are not stretched, as stretching of the vocal ligaments abducts the vocal processes...This adjustment is used for the flute or whistle register, with very high (up to 2500 cps) and weak tones at small flows of air." Historically, the whistle register has helped professional singers to extend their ranges (i.e. Mado Robin, Ima Sumac, and Mariah Carey). There is still not a lot that is known about the whistle register. 

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In modal register, how is frequency controlled? The frequency of vibration of the VF's is determined by their length, tension, and mass. As pitch rises, the vocal folds are lengthened, tension increases, and their edges become thinner. All three of these factors are in a state of flux in the transition from the lowest to the highest tones: length increases, tension increases, and thickness decreases.

Sometimes singers/voice teachers mistakenly identify an area of vocal problems as a register break.  What is often more likely the issue? It is more than often a resonance problem.

What is the shape of the vocal folds for the lowest tones? Vocal fry requires a loose glottal closure which permits air to bubble through with a popping or rattling sound of very low frequency. 

What is one of the primary reasons for vocalizing in falsetto? It can help aid in the development of the upper portion of the modal voice. It can lessen the fear of singing high notes. The sensation of singing freely in falsetto may also encourage the singer to sing more freely in modal voice. 

What are the essential differences between modal and falsetto? The difference between modal register and falsetto register is the amount and type of vocal fold involvement: in falsetto, only the ligamentous edges of the folds enter vibration - the main body of each fold is more or less relaxed; in modal voice, the wave-like motion involves the whole VF, with the glottis opening at the bottom first, and then the top. 

Describe the different ways that singers produce falsetto? The vibratory pattern for falsetto is only the ligamentous edges of the VF's enter into the vibratory pattern. "With the vocalis muscle relaxed it is possible for the cricothyroids to place great longitudinal tension on the vocal ligaments. The tension can be increased in order to raise the pitch even after the maximum length of the cords has been reached. This makes the folds thin so that there is negligible vertical phase difference, no such thing as the glottis opening at the bottom first and then at the top. The vocalis muscles fall to the sides of the larynx and the vibration takes place almost entirely in the ligaments.

Most professional singers have at least ­­­­­­­­­­­­­­an octave range where modal and falsetto overlap.  

Why is it sometimes hard to tell whether a female singer is singing in modal or falsetto? Because modal voice and falsetto overlap. Modal has the light "head voice" which can sound similar to falsetto.