s must be divided. (Sopr. I, Sopr.
II etc.) While the range of an instrument is exactly governed by its
construction, the compass of the voice, on the other hand, depends on
the individuality of the singer. It is therefore impossible to define
the exact limits of each of these vocal types. When it is a question
of dividing choristers into 1st and 2nd parts, those with the
higher voices are classed among the firsts and _vice versa_.

Besides the principal terms mentioned above, the names mezzo-soprano
(between sop. and alto), and baritone (between tenor and bass) are
also employed.

_Note._ In the chorus mezzo-sopranos are classed with 2nd
sopranos or 1st altos, baritones with 2nd tenors or
first basses, according to quality and timbre of voice.

Apart from these denominations which represent the six principal solo
voices, a quantity of others are in use to denote either compass,
timbre or technique, such as light soprano, _soprano giusto_, lyric
soprano, dramatic soprano, light tenor, _tenorino-altino_,
_baryton-martin_, lyric tenor, dramatic tenor, _basso cantante_
("singing bass"), _basso profondo_ (deep bass) etc. To this lengthy
list must be added the term _mezzo-carattere_, of intermediate
character (between lyric and dramatic soprano, for example).

If we try to discover the real meaning of these designations it soon
becomes apparent that they are derived from widely different
sources--for instance, "light soprano" implies agility and mobility in
the voice; "dramatic tenor", the power to express strong dramatic
feeling; _basso profondo_ signifies great resonance in the deep
register.

Minute examination of all the methods of attack and emission of sound
lies within the province of the singing master and to enumerate them
here would only perplex the student. The same applies to the position
and exact limits of register (chest voice, middle and head voice in
women; chest voice, mixed voice and falsetto in men). The work of a
teacher of singing consists in equalising the voice throughout its
whole compass, so that the transition from one register to another, on
all the vowels, may be accomplished imperceptibly. Some voices are
naturally even and flexible. The professor of singing must correct
faults in breathing, determine the range of the voice and place it,
equalise its tone, increase its flexibility, instruct as to the
pronunciation of vowels, modulation from one grade of expression to
anothe