f adult high voice predominating to such a degree that it
has the tenor timbre; and in proportion as the high notes of the male
voice result from artificial training instead of from natural capacity,
the boy-soprano timbre will creep in and weaken the tenor quality in
falsetto. Some basses and low baritones can be trained to reach the high
notes of the male vocal compass in falsetto, but as natural facility to
produce these notes is lacking in such voices and their production is
due wholly to artifice, the reversion to the boy quality of voice is so
complete and it predominates to such a degree that these voices are
known as male altos.

Falsetto usually is associated with tenors, but falsetto also can be
employed by women, the results, as with men, depending on whether the
voice is naturally a high one or not. I repeat that with voices which
naturally are high, falsetto is not a "dodge," but a legitimate artistic
effect. Furthermore, singers who in addition to control of the regular
registers have control of falsetto, frequently find physical relief in
passing from head to falsetto and back again.

Basses are of three different kinds. Basso profundo is the lowest bass;
basso cantante is a flexible bass usually unable to sing quite as low
as basso profundo; baritone is the highest bass--a voice midway between
bass and tenor and partaking somewhat of the quality of both. The bass
compass parallels that for contralto and alto at an interval of an
octave and, in their use of the registers, basses and contraltos and
baritones and altos have much in common. As with contralto, the natural
singing register of basses is the chest register. The middle register is
awkward to establish in bass voices, as the size of the larynx gives a
large open cup space which is unsuited to the chest register. Therefore,
with basses, when the capacity of the chest register is exhausted, it
is best for the production of the notes above to make a complete
change of adjustment to head register. Thus in bass the middle register
practically is eliminated.

The high bass or baritone compass is from [Music: G2-F4]. It was seen
that the question of registers with altos and contraltos was a complicated
one, and similar complications exist with baritones. Some baritones can
employ the middle register with ease, so that like certain contraltos
they can sing in three registers--a rather weak chest register, middle
and head (or falsetto) registers. The tra