Vocal register
Vocal registers |
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A vocal register is a range of tones in the human voice produced by a particular vibratory pattern of the
Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.[1][3][4]In
- a particular part of the vocal range such as the upper, middle, or lower registers
- a resonance area such as chest voice or head voice
- a phonatory process
- a certain vocal timbre
- a region of the voice defined or delimited by vocal breaks
- "A register is a series of homogeneous sounds produced by one mechanism, differing essentially from another series of equally homogeneous sounds produced by another mechanism."[5]
Another definition is from Clifton Ware in the 1990s.
- "A series of distinct, consecutive, homogeneous vocal tones that can be maintained in pitch and loudness throughout a certain range."[6]
A register consists of the homogeneous tone qualities produced by the same mechanical system, whereas registration is the process of using and combining the registers to achieve artistic singing. For example: a skilled singer moves through their range and dynamics smoothly, so that you are unaware of register changes. This process could be described as good or clean registration.[7] The term "register" originated in the sixteenth century. Before then, it was recognized that there were different "voices". As teachers started to notice how different the ranges on either side of the passaggi or breaks in the voice were, they were compared to different sets of pipes in an organ. These clusters of pipes were called registers, so the same term was adopted for voices.[8]
Vibratory patterns
Vocal registers arise from different vibratory patterns produced by the vocal cords. Research by speech pathologists and some vocal pedagogists has revealed that the
While speech pathologists and scholars of phonetics recognize four registers, vocal pedagogists are divided. Indiscriminate use of the word register has led to confusion and controversy about the number of registers in the human voice within vocal pedagogical circles. This controversy does not exist within speech pathology and the other sciences, because vocal registers are viewed from a purely physiological standpoint concerned with laryngeal function. Writers concerned with the art of singing state that there are anywhere from one to seven registers present. The diversity of opinion is wide with no consensus.[9]
The prevailing practice within vocal pedagogy is to divide both men and women's voices into three registers. Men's voices are designated "chest", "head", and "falsetto" and women's voices are "chest", "middle", and "head". This way of classifying registers, however, is not universally accepted. Many vocal pedagogists blame this confusion on the incorrect use of the terms "
Various types of chest or head noises can be made in different registers of the voice. This happens through differing vibratory patterns of the vocal folds and manipulation of the laryngeal muscles.[10] "Chest voice" and "head voice" can be considered the simplest registers to differentiate between. However, there are other sounds other than pure chest voice and head voice that a voice can make. These sounds or timbres exist on a continuum that is more complex than singing purely in chest voice and head voice. The vocal timbres created by physical changes in the vocal fold vibrations and muscular changes in the laryngeal muscles are known as glottal configurations.[11] These configurations happen as a result of adduction and abduction of the glottis. A glottal configuration is the area in which the vocal folds come together when phonating. Glottal configurations existing on this continuum are adducted chest, abducted chest, adducted falsetto, and abducted falsetto. In this case, falsetto could also be referred to as head voice as it applies to females as well. Vocally, the process of adduction is when the posterior of the glottis is closed. Abduction is when the posterior of the glottis is open. An example of adducted chest is belting as well as bass, baritone, and tenor classical singing. Abducted falsetto, on the opposite end of the spectrum, sounds very breathy and can possibly be a sign of a lack of vocal fold closure. However, in styles like jazz and pop, this breathy falsetto is a necessary singing technique for these genres. Abducted chest is a lower, breathier phonation occurring in the chest register, also occurring in jazz and pop styles. Abducted falsetto is treble classical singing. Chestmix and headmix lie on this continuum as well with chest mix being which is more adducted than headmix.[12]
These different vocal fold vibratory patterns occur as the result of certain laryngeal muscles being either active or inactive. During adducted and abducted chest voice, the thyroarytenoid muscle is always activated while during falsetto this muscle is not activated. When the posterior of the glottis is closed the interarytenoid muscle is engaged. This occurs in both adducted falsetto and adducted chest. [13]
The confusion which exists concerning the definition and number of registers is due in part to what takes place in the modal register when a person sings from the lowest
If a singer holds any of these factors constant and interferes with their progressive state of change, their
However, many pedagogists disagree with this distinction of boundaries, blaming such breaks on vocal problems which have been created by a static laryngeal adjustment that does not permit the necessary changes to take place. This difference of opinion has affected the different views on vocal registration.[2]
Vocal fry register
The vocal fry register is the lowest vocal register and is produced through a loose
Modal voice register
The modal voice is the usual register for speaking and singing, and the vast majority of both are done in this register. As pitch rises in this register, the vocal folds are lengthened, tension increases, and their edges become thinner. A well-trained singer or speaker can phonate two octaves or more in the modal register with consistent production, beauty of tone, dynamic variety, and vocal freedom. This is possible only if the singer or speaker 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.[9]
Falsetto register
The falsetto register lies above the modal voice register and overlaps the modal register by approximately one
Whistle register
The whistle register is the highest register of the human voice.[15] The whistle register is so called because the timbre of the notes that are produced from this register are similar to that of a whistle or the upper notes of a flute, whereas the modal register tends to have a warmer, less shrill timbre.
Passaggio
. Main article: Passaggio
The Passaggio is a bridge or transition point between the different registers of the voice. Singers are often trained to navigate this area in the voice. Instabilities often happen in this bridge while the voice is phonating on pitches within this location. When a singer does not navigate this area sufficiently the voice folds temporarily lose the mucosal wave pattern resulting in an audible crack. These cracks can be navigated often through changing vowel. The female voice has two passaggios, primo and secondo passaggio.[16] The male voice has two passaggios as well, however the points of transition lie differently than those of a treble singer and are also navigated in a different manner.[17]
References
See also
References
- ^ a b c Large, John (February–March 1972). "Towards an Integrated Physiologic-Acoustic Theory of Vocal Registers". The NATS Bulletin. 28: 30–35.
- ^ ISBN 978-1-56593-940-0.
- ^ ISBN 978-0-253-20378-6.
- ^ ISBN 978-1-58890-320-4.
- ^ Garcia, Manuel. Hints on Singing. London: E. Ascherberg, 1894. Print.
- ^ Ware, Clifton. Basics of Vocal Pedagogy: The Foundations and Process of Singing. New York: McGraw-Hill, 1998. Print.
- ^ Ware, Clifton. Basics of Vocal Pedagogy: The Foundations and Process of Singing. New York: McGraw-Hill, 1998. Print.
- ^ Alderson, Richard. Complete Handbook of Voice Training. West Nyack, NY: Parker Pub., 1979. Print.
- ^ ISBN 978-1-86156-196-1.
- PMID 19275279.
- PMID 19275279.
- .
- ISSN 0001-4966.
- ISBN 0-19-869164-5
- ^ Vocalist.org.uk. "Voice Registers: Chest, head and other voices at Vocalist.org.uk". www.vocalist.org.uk. Retrieved 2017-09-26.
- PMID 28467509.
- , retrieved 2024-02-23
Further reading
- Van den Berg, J.W. (December 1963). "Vocal Ligaments versus Registers". The NATS Bulletin. 19: 18.