Chapter Summary: The voice is capable of a large range. Our speaking voices span multiple octaves at times. The voice as a musical instrument can span many octaves to convey a wide range of emotions. The range of our voices has many registers in it. We define these registers through the qualities of sound presented in each.
In Harry Hollein's "A View of Vocal Registers" he lists 4 vocal registers present in all voices:
Register 1: the lowest of registers, usually only used in speaking (i.e. pulse, vocal fry, creak).
Register 2: The lower register used in both singing and speaking. (i.e. modal, chest, normal, & heavy).
Register 3: High register used mostly in singing (i.e. falsetto, light, head voice)
Register 4: higher register found in some women/childen, and prominently coloratura sopranos (i.e. flute, whistle).
We could also classify them with descriptions like light/heavy or lower/heavy. These qualities are present in speaking across word cultures.
Register adjustment is where the singer bridges the gap between registers. This is achieved by mixing both registers in a way that creates a smooth transition. Shift points mark the upper and lower limits of each register.
In discovering the registers in the voice, it is important to start with the one we are most familiar with: our speaking range (chest voice), or register 2. While exercising this part of the voice it is vital to maintain a low larynx position. We can induce a low laryngeal position with the sensation of beginning a yawn or breathing with the sensation of the soft palate being raised. We find register by thinking light, childish tones while maintaining easy and released flow of air. Sometimes it's easier to find with a gentle downward "hmmm". When this falsetto quality is found, think a pitch, and slide it down a perfect octave. Repeat down a half step, and continue. Learning to carry this light adjustment downwards will help bridge the gap between register 2 and 3. When you reach a break in your voice, feel the sensation of the yawn space in the back of your throat. When ascending we must lighten the voice.
Register 1 is achieved with a larynx that is low/very relaxed and a constant flow of air.
Register 4 is the flute or whistle voice which should never be forced. It will feel like it just comes out, that you had nothing to do with the production of that sound. This register is more prevalent in women's voices. Good open space and airflow are needed to produce the flute voice on an "oo". There shouldn't be any tension in the lips, jaw, tongue, or breath.
The more we discover all of these registers, the more familiar we can become with the different colors, and flexibility in our voices.
We must exercise our voices daily, to maintain vocal health. If we have been singing a lot on consecutive days, it may be good to take a day of rest. But it is important to exercise all parts of the voice. "When singing is approached in a healthy manner, your throat will feel good after each practice."
Key Terms: Register, register adjustment, shift points.
Key Concepts: Most people do not understand the great potential and capabilities of the human voice. Whilst discovering your voice remember that you're an individual with an voice that has its individual range, size, and speed of its own. As we become familiar with the way our voice works, we can continue to let things happen, and trust our voice.
Making Connections: I am excited to discover the different registers in my voice. I think it will help me become more familiar of my capabilities, and be a productive way of exercising or warming up my voice.
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