Jared Daley McCoy 10

What are the 3 key elements of Manuel Garcia’s definition of register?
1. a register is composed of contiguous pitches
2. Pitches within any given register are produced in the same physiological manner
3. Pitches with any given register share the same basic timbre


While classical singers learn to unify the voice into a single register (or at least this is the perception of the listener), what does voice science have to say about this.
Even the most blended of voices will exhibit at least two registers as well as acoustic adjustments related to formant tuning


What are the components of the physiological events related to register?
how the vocal folds vibrate and the way the glottis is configured


Describe Mode 1 glottal source
the vocal folds are thickened by contraction of the TA muscles, resulting in a greater mass per unit of length and a square-shaped glottis


Describe Mode 2 glottal source
falsetto, pitch modulation relies more heavily on contraction of the cricothyroid muscles which elongate and thin the vocal folds, the glottis is in a triangular shape


Discuss the difference in closed quotient in Mode 1 vs Mode 2.
in Mode 1 the closed quotient is high (greater than 40%) while in mode 2 it is less than 40%


How do the ranges of Mode 1 and Mode 2 differ for men and women?
Most male singers use only mode one, mode two is strictly used for falsetto. In women, the use of mode two varies with each singer.


What are the 2 main transitional areas where changes must occur in source or resonance modes for women?
Primo passaggio and secondo passaggio


What strategies do we use to negotiate the primo passaggio for women?
modify vowels to a more closed position, modulation of breath pressure, top down exercises


What strategies do we use to negotiate the secondo passaggio for women?
lower the fundamental frequency, drop the jaw, vocal tract shortened, vowel modification


What is vowel exchange? How is this different than vowel modification?
Vowel exchange is changing to a different vowel in order to get the sound out, modification is just changing the vowel a bit

What are the 2 main transitional areas where changes must occur in source or resonance modes for men?
primo passagio and the secondo passagio


Which glottal source mode is used below, within, and above these transitional areas?
mode 1


What strategies do we use to negotiate the transition into the upper extension in male voices?
formant tuning


What does Ken Bozeman’s research say about the primo and secondo passaggi events for men?
the primo and secondo passagi may be a single event stretching over a wide range of pitches


How does he suggest men negotiate this transition?
subtly closing the vowel or lowering the larynx


What do developing singers do instead? What kind of sound do these strategies result in?
they keep F1 and 2F together

Some male singers use an alternate strategy for negotiating the passaggio and entering the upper extension.






What is this strategy and what is the downside of this approach?
they add nasality to break the F1/2F lock, this alters their vocal timbre and is not as pleasant to listen to


What is reinforced falsetto?
it means different things to different people: for some it is loud well supported mode 2 with efficient closure, for some it means light easy voice production that serves as a bridge into the upper extension


Which glottal source mode is used in female belt?
mode 1

How does the spectral envelope for female belting differ from male head voice?
desired timbre is chiaro with strong harmonic overtones as high as 10,000 Hz

What does formant tuning in belting differ than in classical singing?
belters open vowels that associates 2F with F1 to aid the transition from mode 1 to 2

What are the 3 physiological strategies used for belt resonance?
lifting the larynx, narrowing the pharynx and increasing the horizontal opening of the mouth