Vocal register

In speech pathology, the vocal register has three components: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Although this view is also adopted by many vocal pedagogists, others define vocal registration more loosely than in the sciences, using the term to denote various theories of how the human voice changes, both subjectively and objectively, as it moves through its pitch range.^[2] There are many divergent theories on vocal registers within vocal pedagogy, making the term somewhat confusing and at times controversial within the field of singing. Vocal pedagogists may use the term vocal register to refer to any of the following:^[2]


Manuel Garcia II in the late nineteenth century was one of the first to develop a scientific definition of registers, a definition that is still used by pedagogues and vocal teachers today.


Another definition is from Clifton Ware in the 1990s.


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[edit]

Vocal registers arise from different vibratory patterns produced by the vocal cords. Research by speech pathologists and some vocal pedagogists has revealed that the vocal cords are capable of producing at least four distinct vibratory forms, although not all persons can produce all of them. The first of these vibratory forms is known as natural or normal voice;^[9] another name for it is modal voice, which is widely used in both speech pathology and vocal pedagogy publications. In this usage, modal refers to the natural disposition or manner of action of the vocal cords. The other three vibratory forms are known as vocal fry, falsetto, and whistle. Each of these four registers has its own vibratory pattern, its own pitch range (although there is some overlap), and its own characteristic sound. Arranged by the pitch ranges covered, vocal fry is the lowest register, modal voice is next, then falsetto, and finally the whistle register.^[4][9]


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 "chest register" and "head register". These professionals argue that, since all registers originate in laryngeal function, it is meaningless to speak of registers being produced in the chest or head. The vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to resonance, not to registers. These vocal pedagogists prefer the terms "chest voice" and "head voice" over the term register. Many of the problems described as register problems are actually problems of resonance adjustment. This helps to explain the multiplicity of registers which some vocal pedagogists advocate.^[2] For more information on resonance, see Vocal resonation.


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 pitches of that register to the highest pitches. The frequency of vibration of the vocal folds is determined by their length, tension, and mass. As pitch rises, the vocal folds are lengthened, tension increases, and their thickness decreases. In other words, all three of these factors are in a state of flux in the transition from the lowest to the highest tones.^[1]


If a singer holds any of these factors constant and interferes with their progressive state of change, their laryngeal function tends to become static and eventually breaks occur, with obvious changes of tone quality. These breaks are often identified as register boundaries or as transition areas between registers. The distinct change or break between registers is called a passaggio or a ponticello.^[14] Vocal pedagogists teach that, with study, a singer can move effortlessly from one register to another with ease and consistent tone. Registers can even overlap while singing. Teachers who prefer the theory of "blending registers" usually help students through the "passage" from one register to another by hiding their "lift" (where the voice changes).


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]