1. MALE REGISTRATION October 24, 2011

2. DOSCHER-MALE REGISTRATION Auxiliary: Glottal Fry Chest Head Falsetto

3. M C K INNEY Fry Modal Falsetto

4. M C C OY -M ALE REGISTERS TDP Used for majority of singing Extended to F#4-Bass Extended to G/A4-Baritone Extended to C5-Tenor CDP Reserved for falsetto singing

5. M ILLER Men Chest (“Petto”) Primo Passaggio Mixed Voice (“Mista”)-Zona di passaggio Secondo Passaggio Head (“Testa”) Usually a P4-P5 in scope Falsetto

6. R EGISTER “ EVENTS ” – R ICHARD M ILLER Voice TypePrimo PassaggioSecondo Passaggio TenorinoF4Bb4 Tenore LiricoD4G4 Tenore SpintoD4G4 Baritono LiricoB 3E4 Baritone DrammaticoBb 3Eb4 Basso profondoAb 3Db 4

7. CHEST VOICE Primo passaggio (Garcia) D#4 – Basses E4 – Baritones F/F#4 – Tenors

8. H EAD V OICE Voix Mixte TA Dominant Upper extension (Bb4-C5) Resembles chest more than falsetto Register Blending Widened Resonance Tract Low Larynx Soft Palate Elevation Closed/rounded mouth Darker vowels Increased airflow “Cover” Firm glottal closure Closure is longer

9. M CCOY - OPERATIC HEAD VOICE Begins C4-A4 Not physical change, but acoustic change Change in timbre Voce chiusa – “cover” Some singers: Increase nasality to achieve head resonance Aesthetically pleasing?

10. M ALE V OCAL I SSUES “Register Violation”-Donald Miller Open vowels carried too high without modification Corrective Procedure: “Cover” C4-A4

11. H EAD V OICE VS. FALSETTO The head register in the male singing voice is often one of the most difficult vocal adjustments to acquire and maintain. Cultivated especially for opera, it should not be confused with the falsetto, a much thinner-sounding register. John Large

12. Muscular antagonism CT vs. TA Bow shaped Come into contact only at borders Head voiceFalsetto

13. FALSETTO Relaxed TA muscle-Stretched CT muscle Incomplete glottal closure Glottal “chink” in back Increase airflow Breathy “hooty” tone VF does not resist breath Lower intensity Uses for the falsetto?

14. P EDAGOGICAL PURPOSES FOR FALSETTO Hyperfunctional singing Upper Middle/High notes Tessitura in Choir Tenor I Very high, very soft notes difficult to sing in modal voice Technique Building Aid in development of upper range of modal register

15. T ECHNIQUE Develops full head voice Develops CT stretcher, prevents overwork from TA Leads to a less weighty sound Falsetto has no relation to head voice Leads to a thin, overly bright sound Pro FalsettoCon Falsetto

16. GLOTTAL FRY-AUXILIARY Can extend to E1 (44 Hz) CT at rest-TA active Firm glottal closure Body of fold is tense, mucosal layers relaxed Vertical Phase Difference “Popping sound”

17. P EDAGOGICAL REASONS FOR THE INCLUSION OF VOCAL FRY Replace laryngeal tension Supply low notes not available in modal voice