ano with the adjustment for the middle register; and the
higher notes of the middle register with the adjustment for the head
register. This option is not merely a convenience. Its artistic value is
great. In loud phrases those optional notes which naturally lie in the
chest register are delivered most effectively in that register; but in
_piano_ phrases they are more effective when sung with the adjustment of
the middle register. The same thing applies to those optional tones
which naturally lie in the middle register. In loud phrases they are
sung best in their natural register--the middle; in _piano_ phrases, in
the head register. These are two capital illustrations of the value of
the overlapping of registers and the necessity of training a voice to
be equally at home in both registers on all notes that are optional.

Theoretically, the florid soprano produces the three lowest notes of its
range in the chest register; the notes from [Music: F4-F5] in the middle; and
the notes above these in the head register. In practice, however, the
small larynx and the limited cup space found in florid sopranos make it
difficult if not impossible for them to adjust their vocal tracts to the
chest register. The problem is met by bringing the head register as far
down as possible into the middle; and by singing what theoretically
should be chest tones in the middle register. It hardly need be pointed
out that the lower notes of florid sopranos are weak. This accounts for
it. Florid soprano, the voice of the head register, is a voice of
extraordinary agility--the voice of vocal pyrotechnics. To achieve it
Nature appears to have found it necessary to sacrifice the heavier
middle and chest registers which make for dramatic expression; with
dramatic sopranos, on the other hand, to sacrifice the muscular
flexibility which makes for agility. Mezzo-soprano is a voice that lies
within the compass of dramatic soprano, usually extending neither quite
so low nor quite so high, but governed by the same laws.

For altos the ordinary compass is [Music: G3-C5]. A low alto or contralto is
supposed to go down to the E below; while altos of unusual range go
high as [Music: F5]. I even have seen the alto compass in notation run up to
"high" C; but to control this high range an alto would have to be another
Schumann-Heink who has cultivated upper notes in the head register.
The tone-quality of some alto voices approaches so nearly that of the
male voi