t is, in the middle register), and the resonance and attack are
transferred thither so that the breath can flow over the soft palate
through the nose.

This special function of the palate, too, should be carefully prepared
for in the tones that precede it, and mingled with them, in order not
to be heard so markedly as it often is. In men's voices this is much
more plainly audible than in women's; but both turn it to account
equally on different tones. This often produces a new register that
should not be produced. This belongs to the chapter on registers.

[Music illustration]

The tone is concentrated on the front of the palate instead of being
spread over all of it--but this must not be done too suddenly. [See
illustrations on pages 127, 129, 131, 133.]

[Illustration: Red lines denote covered tones for contralto and
soprano.]

[Illustration: Red lines denote covered tones for bass and baritone.]

[Illustration: Red lines denote change of attack. (Soprano, contralto,
and tenor.)]

[Illustration: Red lines denote change of attack. (Bass and
baritone.)]

SECTION XIV

ON VOCAL REGISTERS

What is a vocal register?

A series of tones sung in a certain way, which are produced by a
certain position of the vocal organs--larynx, tongue, and palate.
Every voice includes three registers--chest, middle, and head. But all
are not employed in every class of voice.

Two of them are often found connected to a certain extent in
beginners; the third is usually much weaker, or does not exist at all.
Only very rarely is a voice found naturally equalized over its whole
compass.

Do registers exist by nature? No. It may be said that they are created
through long years of speaking in the vocal range that is easiest to
the person, or in one adopted by imitation, which then becomes a
fixed habit. If this is coupled with a natural and proper working of
the muscles of the vocal organs, it may become the accustomed range,
strong in comparison with others, and form a register by itself. This
fact would naturally be appreciated only by singers.

If, on the other hand, the muscles are wrongly employed in speaking,
not only the range of voice generally used, but the whole voice as
well, may be made to sound badly. So, in every voice, one or another
range may be stronger or weaker; and this is, in fact, almost always
the case, since mankind speaks and sings in the pitch easiest or most
accustomed, without giving thought to