From Wikipedia, the free encyclopedia

Vocal registration refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal function. They occur becuase 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] The term register can be somewhat confusing at it encompasses several aspects of the human voice. The term register can be used to refer to any of the following^[2]:

• A particular part of the vocal range such as the upper, middel, or lower registers.
• A resonance area such as chest or head voice.
• A phonatory process
• A certain vocal timbre
• A region of the voice which is defined or delimeted by vocal breaks.

Overall the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound.^[3]

Indiscriminate use of the word register has led to much confusion and controversy about the number of registers in the human voice. Various writers about the art of singing state that there are from one to seven registers present. The diversity of opinion in this area is quite wide and there is no one consensus or point of view.^[4] Many vocal pedagogists partially 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 term "chest voice" and "head voice" over the term register. Many of the problems which people identify as register problems are really problems of resonance adjustment. This helps to explain the multiplicity of registers which some vocal pedagogists advocate. For the purposes of this article, resonance problems are relegated to their own area since their usage here is controversial and without an overall supporting consensus.^[5] For more information on resonance see Vocal resonation.

Vocal registers arise from different vibratory patterns produced by the vocal cords. Research has revelaed that the vocal cords are capable of producing at least four distinct vibratory forms, although all persons cannot produce all of them. The first of these vibratory forms in known as natural or normal voice^[6]; another name for it-modal voice- which is currently highly used among voice 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 area (although there is some overlapping), and its own characteristic sound. Arranged by the pitch areas covered, vocal fry is the lowest register, modal voice is next, then falsetto, and finally whistle..^[7]

The confusion which exists concerning what a register is, and how many registers there are, 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.^[8]

If a singer holds any of these factors constant and interferes with their progressive state of change, his laryngeal function tends to become static and eventually breaks occur, whith obvious changes of tone quality. These break are often identified as register boundaries or as transition areas between registers. 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 effected the different views on vocal registration.^[9]

Below is a basic description of each register but the individual registers all have their own articles on wikipedia.

The vocal fry register is the lowest vocal register and is produced through a loose glottal closure which will permit air to bubble through with a popping or rattling sound of a very low frequency. The chief use of vocal fry in singing is to obtain pitches of very low frequency which are not available in modal voice. This register may be used therapeutically to improve the lower part of the modal register. This register is not used that often in singing but male quartet pieces, male Russian choral pieces, and certain styles of folk music for both men and women have been known to do so.^[10]

The modal voice is the usual register for speaking and singing, and the vast majority of singing is 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 can sing 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 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.^[11]

The falsetto register lies above the modal voice register and overlaps the modal register by approximately one octave. The characteristic sound of falsetto is inherently breathy and flute-like with few overtones present.^[12] The essential difference between the modal and falsetto registers lies in the amount and type of vocal cord involvement. The falsetto voice is produced by the vibration of the ligamentous edges of the vocal cords, in whole or in part, and the main body of the fold is more or less relaxed. In contrast, the modal voice involves the whole vocal cord with the glottis opening at the bottom first and then at the top. The falsetto voice is also more limmited in dynamic variation and tone quality than the modal voice.^[13]

The whistle register is the highest register of the human voice. 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. Women of all voice types can use the whistle register. With proper vocal training, it is possible for most women to develop this part of the voice but some women are unable to do so. Children can also phonate in the whistle register and men can as well in very rare instances.^[14]

1. ^ Large, John (February/March 1972). "Towards an Integrated Physiologic-Accoustic Theory of Vocal Registers".
2. ^ McKinney, James (1994). The Diagnosis and Correction of Vocal Faults
3. ^ McKinney, James (1994). The Diagnosis and Correction of Vocal Faults
4. ^ Greene, Margaret; Lesley Mathieson (2001). The Voice and its Disorders, cited below
5. ^ McKinney, James (1994). The Diagnosis and Correction of Vocal Faults, cited below
6. ^ Greene, Margaret; Lesley Mathieson (2001). The Voice and its Disorders, cited below
7. ^ Greene, Margaret; Lesley Mathieson (2001). The Voice and its Disorders, cited below
8. ^ Large, John (February/March 1972). "Towards an Integrated Physiologic-Accoustic Theory of Vocal Registers
9. ^ McKinney, James (1994). The Diagnosis and Correction of Vocal Faults
10. ^ McKinney, James (1994). The Diagnosis and Correction of Vocal Faults
11. ^ Greene, Margaret; Lesley Mathieson (2001). The Voice and its Disorders
12. ^ Large, John (February/March 1972). "Towards an Integrated Physiologic-Accoustic Theory of Vocal Registers"
13. ^ Greene, Margaret; Lesley Mathieson (2001). The Voice and its Disorders
14. ^ McKinney, James (1994). The Diagnosis and Correction of Vocal Faults