QUESTIONS AND ANSWERS

Can you say that these changes in register come at exact places on the scale?
A The first lift tends to be quite definite. This is basically the middle of the singer's singing range. The second lift is a variable, depending on the vowel sung, and upon the loudness with which it is sung. The vowel sounds tend to modify or close in this order: ee, oo, ay, oh and ah. They tend to modify or close earlier in the scale when sung softly.

Q How do the chest and head qualities, and the thick and thin, or the heavy and light mechanisms, fit into the pattern of the low, middle, and high registers?
A There seems to be considerable confusion about it. This is due to the fact that the registers can be made to overlap, that is, the low register quality can be carried into the middle register; or the middle register quality into the low or the high register; or the high register quality into the middle register. The term for this is "mixed registration."

Q Is this good or bad?
A Overlapping may be said to be good if it is not carried too far. The idea of overlapping is to blend the qualities of the different registers into an even scale, so that the singer sounds like the same person through out his vocal range, without the register changes showing. It may be said to be bad if there are noticeable changes in quality, and obvious changes in registers, and if the singer's range is limited, either in the high or low registers.

Q How do you go about establishing an even scale?
A Through the use of vocalization, singing scales, arpeggios and portamento sin normal quality, using only one vowel sound for each exercise, open ay, oh, or ah, in a mezzo-forte voice. The same position of the lips and the mouth should be maintained without strain or rigidity, so that changes in voice quality due to changes in registers are hardly noticeable.

Q How do you go about teaching breathing for singing? Or do you just let the student breathe naturally?
A I would be inclined not to teach breathing in the first few lessons. In answer to your second question, I believe that breathing for singing is different from just breathing naturally. I believe that deep breathing is essential to good singing, and natural breathing is usually not deep. I believe that a variable pressure flow of the breath is essential to dynamic control and a wide range, and that this variable pressure flow of the breath must be developed.

Q What other differences are there between breathing for singing and natural breathing?
A The timing is different. Natural breathing calls for about 16 to 18 inhalations and exhalations per minute, equally spaced. This is breath necessary to keep us alive, and is called vegetative breathing. Breathing for singing or speech calls for a quick inhalation and a slow, controlled exhalation. This is a matter of training.