Elizabeth Tait OB Ch. 5 Summary

Summary: Many singers decide early on what category of singer they are, soprano or mezzo.  However, exploring range and registers is life long process which may change your perception of the abilities of your own voice.  Every voice has a wide variety of registers  available to it from birth, and proper exercises can uncover that range.  Many terms have been used to describe the various registers (falsetto, head, chest, etc.), but Brown uses 4 numbered categories.  1 is the lowest in pitch and rarely used and 4 is the highest, only found in children and high sopranos. Our goal as singers is to to coordinate shifts between these registers that is as smooth as possible.
Register 2 (normal speaking/chest voice) in an untrained voice uses TA muscles, while Register 3 (head voice) additionally employs the CT muscles.  The registers can be mixed if we train our voices to transition use of these separate muscles as we approach either range.  All of this needs to be done with the larynx in a low resting position.  Register 3 can be found by using sigh like light singing above the passagio.  As the voice lowers in pitch, a break will be likely going from Register 3 to 2.  This can be avoided by keeping a yawning, airy sense to the tone.  Many women need help fully developing Register 2 in singing, because it not something they are accustomed to using.  Register 1 can be accessed through more air flow, less pressure.  Register 4 (freaking high notes for women) is achieved through ultimate loosening of everything.  Once it's achieved, it feels as if nothing was done to achieve it.  Ideally, through gentle practice, we can use aspects of all registers in all aspects of the voice. 
Key Terms
Registers 1-4
falsetto
head
register adjustment
registers
Key Concepts: When trying to mix registers in practice, only do a little bit of the exercises per day, and be happy while doing it!
Making Connections: I was particularly interested in the Register 4 section, because trying to unlock that high D is something on my mind a lot these days.  "If you try to find these highest pitches by straining to raise Register 3 higher, you are doomed to failure."  I think this explains why the feeling of high notes is so foreign to me, it's because it's a new register!  I used to think of reaching these high notes as extending my Register 3 voice up, and now I know that's not what it is.