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Un article de Gilles Denizot

Les chanteurs et professeurs font référence à certains termes techniques pour décrire les différents registres de la voix chantée. Ces définitions sont acceptées par certains et refusées par d’autres. Une confusion bien naturelle s’installe alors, tant chez les étudiants (qui ne comprennent pas toujours ce que leur professeur veut dire) que chez les pédagogues (qui n’utilisent pas tous le même vocabulaire). La raison provient essentiellement du fait que les mécanismes vocaux sont complexes. De solides notions en anatomie et en physiologie vocale sont indispensables pour comprendre puis enseigner le chant. Nous nous proposons d’énumérer et de tenter de définir ici les termes les plus courants.

Il faut d’emblée établir que si l’on divise la voix en plusieurs parties ou registres, on implique la nécessité de passage d’un registre à un autre. Que la voix soit effectivement divisée en plusieurs registres ou non, il n’en reste pas moins qu’en chant classique de haut niveau l’homogénéité vocale est indispensable. Il faut donc apprendre à chanter sur toute sa tessiture en conservant le même timbre, c’est-à-dire en ajustant sa voix à la hauteur des notes. C’est ce qui différencie notamment le chant classique du chant variété. On ne devrait pas avoir peur de la notion de registre, ni imaginer qu’on chante certaines notes en poitrine, d’autres en tête, mais envisager le beau chant comme la manifestation de l’équilibre et de l’harmonie des registres.

Registration

La registration est l’ensemble des positions du larynx pouvant induire différents types de sons, avant même leur modification par les résonateurs.

Dans Hints on Singing (p.7-8 et suivantes), Manuel Garcia mentionne l’existence de trois registres vocaux nommés respectivement poitrine, medium, et tête. Il reconnaît que ces termes sont inexacts mais acceptables. Toujours selon Garcia, un registre est une série de sons homogènes consécutifs produits par un seul mécanisme, différant essentiellement d’une autre série de sons également homogènes produits par un autre mécanisme. Chacun des trois registres possède son étendue et sonorité propres, qui varient en fonction du sexe de l’individu et de la nature de son organe vocal. Le mécanisme des registres est expliqué par la posture des cordes vocales et l’utilisation qui en est faite par le chanteur : la voix de poitrine occasionne une légère tension de toute la longueur et largeur des cordes vocales. Plus la note est élevée, plus la tension des cordes augmente tandis que l’épaisseur diminue. Parallèlement les aryténoïdes réduisent la longueur vibratoire des cordes jusqu’à induire la voix de tête dans l’aigu. Garcia explique que la résistance à l’air opposée par les larges côtés des cordes vocales inviterait la voix de poitrine, ou le Falsetto quand il s’agit des fins côtés. On peut donc chanter sur les fins côtés des cordes plutôt qu’en faisant appel à toute leur masse. Cela influence considérablement la santé vocale, la résistance vocale, et la musicalité du chanteur. Notons que, selon Garcia, le medium et le Falsetto sont un seul et même registre. Cette notion confuse n’est plus utilisée de nos jours.

Mécanismes vocaux

L’étudiant lira souvent les termes de mécanisme lourd et mécanisme léger : ce sont en fait deux manières différentes de faire fonctionner les cordes vocales. Dans ce domaine largement documenté, l’étude de William Vennard est une référence. Dans Singing – The Mechanism and the Technic (par. 238, ed. 1967), Vennard fait justement remarquer que le mécanisme lourd couvre les 2/3 graves de la tessiture, et que le mécanisme léger couvre les 2/3 aigus. L’un ou l’autre mécanisme peut donc être employé pour le tiers médian. C’est une notion fondamentale : le medium du chanteur peut, par un entraînement approprié, réaliser l’équilibre entre graves et aigus, et déterminer la qualité de l’instrument complet. Voilà pourquoi l’étude du chant se concentre d’abord sur le medium avant de passer aux parties extrêmes de la voix.

Mécanisme lourd

Le mécanisme lourd est parfois appelé voix de poitrine ce qui donne lieu à un premier malentendu : la voix de poitrine est, selon nous, le produit du mécanisme lourd, pas sa cause. Une des caractéristiques du mécanisme lourd est l’action prédominante du muscle thyro-aryténoïdien. L’épaisseur des cordes engendre une fermeture intense et longue de la glotte pendant la phonation. La pression accumulée fait ensuite s’ouvrir la glotte presque comme une explosion. La distance entre les deux cordes vocales est alors assez importante. Le mécanisme se répète ensuite tout au long de la phonation en voix de poitrine. Le mécanisme lourd convient aux notes graves, précisément en raison de la grande amplitude de vibration des cordes.

Mécanisme léger

La première remarque concernant le mécanisme lourd s’applique au terme mécanisme léger. La caractéristique du fonctionnement en mode léger est l’action prédominante du ligament thyro-aryténoïdien vocal. Les cordes vocales n’offrent que peu de résistance à l’air et la fermeture de la glotte est brève. Les côtés des cordes vocales sont fins.

Souffle et Influence sur les registres vocaux

On ne peut éviter d’aborder le sujet du souffle et de sa gestion lorsqu’on évoque les registres vocaux (C.f. notre article Posture et Souffle). En effet, selon les grands Maîtres du Bel Canto, il canto è fiato (le chant est le souffle). Il est impossible de parvenir à une optimisation des registres vocaux si le souffle n’est pas discipliné. C’est ce qui pose évidemment problème au début des études de chant. L’élève ne parvient pas à retenir correctement l’air inspiré. Par réaction, il chante le plus souvent en mécanisme lourd. Le larynx ne peut pas pivoter et le pharynx s’ouvrir suffisamment pour laisser place au mécanisme léger. Les notes extrêmes sont absentes, ou de qualité médiocre. Celles-ci s’obtiennent au fur et à mesure que le souffle se discipline.

Voix de poitrine (Voce di petto, Chest voice, Bruststimme, Long register)

Terme utilisé pour décrire le timbre vocal produit par le muscle vocal par rapport au ligament vocal. Certains parlent de sensations vibratoires localisées dans la poitrine plutôt que dans la tête. Comme disait Garcia, cette appellation est inexacte mais acceptée couramment notamment en référence au timbre sombre, au mécanisme lourd, et au registre ou voix graves. On pourrait parler de prédominance d’harmoniques graves en raison de la posture basse du larynx. La voix de poitrine n’est qu’une partie, la plus basse, de la voix du chanteur. En effet, il est physiologiquement impossible de chanter en voix de poitrine dans l’extrême aigu de sa tessiture. Le ténor Adolphe Nourrit, à l’origine de l’appellation Ut de poitrine pour décrire son contre-Ut, faisait allusion à la différence d’émission vocale dans l’aigu par rapport au style de chant en vogue à l’époque qui favorisait un Falsetto renforcé. L’utilisation permanente de la voix de poitrine a des conséquences sur :

1. la santé vocale : chanter en voix de poitrine sur toute la tessiture indique simplement que le chanteur n’a pas découvert ou n’utilise pas d’autres mécanismes vocaux et force sa voix de poitrine aussi loin que possible, risquant souvent des dommages;
2. la musicalité et le style : chanter en voix de poitrine est répandu dans le style de chant belting, mais aussi chez la plupart des chanteurs classiques débutants ou de qualité médiocre. Ces chanteurs n’ont souvent pas d’autre moyen pour atteindre l’aigu que de pousser et d’ouvrir horizontalement la bouche. Le grand répertoire classique est inaccessible, et la musicalité est diminuée. L’étude et la maîtrise du Passaggio sont indispensables. Nous aborderons plus bas la question de la musicalité.

Voix de tête (Voce di testa, Head Voice, Kopfstimme, Short Register)

Terme utilisé pour décrire les sensations vibratoires localisées dans la tête plutôt que dans la poitrine. Certains nomment ainsi le registre aigu. On peut parler de prédominance d’harmoniques aigus. Pour certains professeurs, qui confondent souvent voix de tête et Falsetto, la voix de tête serait une voix pauvre en projection, en timbre, en puissance. Ceux-ci préfèrent l’appellation voix mixte ou mixte appuyée pour désigner le medium de la voix, ou encore le chant bien conduit et souple.

Voix mixte (Mixte appuyée, Mezza voce)

Combinaison des voix de poitrine et de tête, ou des harmoniques graves et aigus. La notion de voix mixte sous-entend un équilibre de ces composantes. Le larynx est abaissé, le pharynx est ouvert, permettant l’intervention des harmoniques graves. Les harmoniques aigus sont obtenus par un travail sur le palais mou ou velum. Certains ajoutent le qualificatif appuyé quand la voix mixte est soutenue par l’implication du corps. Le terme de voix mixte est souvent utilisé dans le domaine de l’interprétation vocale classique, notamment des mélodies, et en particulier du répertoire français. Le terme de mezza voce ne désigne pas le registre de voix de tête. Il fait allusion à un style de chant, une manière de chanter. Pour y parvenir, il n’est pas nécessaire de modifier le mécanisme de la pleine voix, mais simplement de réduire l’intensité du chant. On pourrait aussi dire que la mezza voce permet de parler plutôt que de chanter les mots.

Voix de fausset (Falsetto)

La voix aiguë utilisée notamment par les contre-ténors, également appellés falsettistes. En Falsetto les bords membraneux extrêmes des cordes vocales sont les seules parties utilisées dans la vibration; la masse correspondant à la partie intérieure du muscle thyro-aryténoïdien reste immobile. Les chanteurs et chanteuses qui pratiquent l’exercice du Cuperto (voir plus bas) utilisent le Falsetto du haut en bas de leur tessiture. Avec le temps, le Falsetto typique, fragile et détimbré, se renforce. Certains l’appellent alors Falsetto renforcé. Dans le cas des ténors lyriques légers, ce Falsetto renforcé présente une sonorité et une consistance très caractéristiques, idéalement appropriées dans le répertoire Rossini notamment.

Registre grave

Les notes les plus graves de la voix humaine. Succession de notes graves émises par un même mécanisme vocal.

Registre medium

Les notes se trouvant sur la portée. Succession de notes medium combinant les meilleures qualités des registres grave et aigu.

Registre aigu

Les notes à partir du haut de la portée jusqu’au niveau le plus élevé de la voix humaine. Succession de notes aiguës émises par un même mécanisme vocal.

Passage ou Haut medium (Passaggio)

Dans une gamme ascendante sur une voyelle ouverte, un chanteur peut nettement ressentir qu’à partir d’une certaine note (qui varie selon les individus) la couleur de sa voix change et la sensation laryngée devient moins confortable. Les changements ressentis se produisent au moment du passage entre deux régions de la voix, voire entre deux notes. Si l’on accepte le concept de différences vocales entre chaque ton, ou encore la notion de registres (série de tons similaires), alors on doit parler des pivots entre les différents types de tons. Chacune de ces transitions est un passage. Le but du chant classique de haut niveau n’est pas d’ignorer ces transitions, mais de les rendre aussi imperceptibles que possible pour l’auditeur. L’homogénéité vocale est le résultat de ce travail indispensable.

Flageolet ou Sifflet (Whistle Register)

Un registre de la voix de femme s’étendant au-delà de la quinte aiguë, et d’utilisation peu courante. Le nom de sifflet décrit bien le son dans cette région suraiguë. Les chanteuses de type soprano lyrique léger ou colorature dramatique parviennent, par la pratique du Cuperto, à atteindre ce registre sans serrer la gorge ni utiliser les fausses cordes vocales.

Friture (Strohbass, Schnarrbass, Vocal Fry)

Un registre de la voix masculine grave qui s’étend en dessous des notes normales utilisées dans la voix chantée ou parlée. Tout comme le sifflet, son utilisation est extrêmement rare et il n’est pas indispensable de le détailler davantage.

Voix feinte (Voce finta, Feigned Voice)

La traduction italienne de voce finta, parfois utilisé pour décrire le Falsetto, décrit le timbre de la voix non soutenue. Le son est trop clair et inconsistant. Il est souvent le produit d’une bouche horizontale et d’une absence de soutien corporel. Certains chanteurs/chanteuses en font l’usage pensant, à tort, être expressifs.

Belting

Mot en anglais qui désigne un style de chant, et par suite, une technique vocale répandue dans le domaine de la comédie musicale, le plus souvent aux Etats-Unis. Le larynx est en posture particulièrement élevée et l’accolement des cordes vocales est maintenu, voire forcé, sur une durée plus longue. Le son prend une sonorité extrêmement nasale. Certains considèrent le belting comme le résultat de la voix de poitrine poussée au-delà du passage aigu. Les chanteurs classiques qui n’accommodent pas leur larynx pour l’aigu et/ou ceux qui ouvrent leur bouche horizontalement se rapprochent involontairement du belting.

Voix ouverte (Voce aperta, Open Voice)

L’utilisation de la voix de poitrine le plus haut possible. Une autre manière de décrire le belting. La bouche est de plus en plus ouverte dans la gamme ascendante.

Voix claire ou blanche (Voce chiara o bianca, Clear or White voice)

Un timbre clair ou blanc produit par la posture basse du velum et la posture élevée du larynx. Souvent la bouche est ouverte horizontalement. La langue se rétracte et bloque le pharynx. Le vibrato est absent.

Voix fermée (Voce chiusa, Closed Voice)

Une voix qui se modifie dans le haut medium. Le chanteur ressent le pivot du larynx et l’ouverture graduelle du pharynx. La bouche est arrondie et peu ouverte.

Voix couverte (Voce coperta, Covered Voice)

Une voix homogène dans l’aigu. Le timbre est riche et brillant. Le larynx a pivoté et reste stable; le pharynx est ouvert.

Voix pleine (Voce piena, Full Voice)

Une voix qui combine avantageusement les qualités de la voix de poitrine et de la voix de tête. Une voix intense, bien soutenue par le corps. Caruso considérait que sa pleine voix était sa capacité vocale naturelle.

Le Cuperto et la santé vocale

Dans le traité Pensieri e riflessioni pratiche sopra il canto figurato publié en 1774, le chanteur et professeur Giambattista Mancini explique : En formant la voix, divisez la voix entre ses deux éléments naturels : pure voix de poitrine et petite voix de tête. Exercez et renforcez chaque partie séparément, puis joignez-les en mélangeant la voix de tête dans la voix de poitrine. Cette méthode trouve en l’exercice du Cuperto un outil pédagogique efficace. Il est difficile pour les élèves en chant, surtout au début de cet entraînement spécifique, de comprendre l’utilité et les bienfaits du Cuperto. Notre époque privilégie la production rapide plutôt que la maturation artistique lente. Ceux qui forment leur instrument au moyen du Cuperto s’aperçoivent progressivement de sa valeur. La santé vocale et les performances des chanteurs et chanteuses s’en trouvent tout naturellement améliorées.

Les Gammes de Caruso et l’homogénéité vocale

L’homogénéité vocale implique que ni l’un ni l’autre des mécanismes n’occupe une place prédominante. Pour que la registration soit souple, il faut entraîner non seulement les zones restreintes des notes-pivots, mais également l’étendue complète de la voix. Les gammes de Caruso sont, à ce titre, particulièrement efficaces. Elles font comprendre en douceur aux élèves les concepts de l’arrondissement des voyelles et du pivot du larynx. Elles agissent de note en note et sur une longue distance vocale. Les chanteurs qui s’entraînent avec les gammes de Caruso découvrent graduellement la précision tonale, la stabilité dans la gestion du souffle, le chant legato soutenu, et l’égalisation des voyelles. En voici un exemple pour ténor :

Le chanteur débute sur Mi naturel, de préférence en voix de tête pour faciliter le premier passage sur Si. Dans le cas où le chanteur aurait commencé en voix de poitrine, l’accès à la voix de tête est encore possible en arrondissant la voyelle a en o sur le Si naturel. Le o qui se modifie ensuite vers ou dans le haut medium, en plein Passaggio, permet le pivot du larynx et l’ouverture du pharynx. Le chanteur atteint en souplesse la note de deuxième passage sur Fa#. Si la phrase vocale continuait dans l’aigu, le chanteur disposerait alors d’une gorge parfaitement ouverte. Dans la descente, les voyelles se modifient à nouveau en réduisant l’espace pharyngé. Cet ajustement inverse de la cavité buccale est primordial pour la qualité vocale, particulièrement pour les chanteuses.

Musicalité

Les chanteurs de qualité médiocre présentent des différences notables de registres et de sons. Les bons chanteurs produisent un son équilibré sur toute leur tessiture. Comme l’écrit très justement William Vennard (ouvrage cité, p.66) : Lorsque le chanteur est bien entraîné, le registre moyen de sa voix présente un équilibre sonore qu’il est difficile d’appeler poitrine ou tête. Le chanteur est capable de rendre le registre moyen lourd ou léger, en souplesse et à volonté, et la fourchette dans laquelle cela est possible s’élargit avec la maturation de sa voix jusqu’à englober la plupart des notes que le chanteur désire utiliser en public. Outre le fait scientifiquement acquis qu’une voix ouverte ne porte pas, peu de chanteurs comprennent que pour exprimer un chant de qualité il faut (notamment) des outils vocaux fiables. Or un instrument dont la registration est déséquilibrée ne peut pas être fiable musicalement.

Conclusion

Les registres vocaux et toutes les définitions relatives font l’objet de controverses, c’est pourquoi il est judicieux de définir le vocabulaire utilisé. Il faut aussi comprendre les différents mécanismes vocaux. C’est l’équilibre des registres – et donc la maîtrise des passages – qui incite à parler d’un registre vocal unique. L’homogénéisation vocale demeure le signe distinctif d’un instrument de qualité.

© OperaLab – Gilles Denizot. Tous droits réservés

©2010 OperaLab.. All Rights Reserved.

Working with a beginner takes a similar approach at first whatever the vocal category. The basic notions of posture and breathing are almost identical. However, once the true voice type of the student is established, a voice tutor must respect it. Teaching a soprano in the mezzo range does not help at all; training a tenor as a baritone “until he gains high notes” is counter-productive, to say the least. It is of the utmost importance that a student be trained in his/her appropriate vocal category.

At the time of my debut in 1985, I had a powerful, rich, and odd mature voice. Its colour was dark and full; the range and abilities largely above normal. This voice allowed me to make my debut at the Grand Theatre in Geneva aged 18, after only six months of voice lessons. At the age of 22 I sang the Verdi Requiem in Paris and got hired as a permanent soloist by the Opernhaus in Zurich. At 24, I was invited to represent my country at the 1991 BBC Cardiff Singer of the World. I did not have any real technical knowledge, and did not especially want any. I had ways to succeed in difficult music lines, and I was carefree and bold. After years of singing on an international level, I discovered what was preventing me from singing consistently.

Although I strongly believed to be a tenor, I got trained in the wrong vocal category. Being a Heldentenor, my instrument was heavier and darker than a lyric tenor. It sounded a lot like a lower voice and I did not know how to access the high tenor range. I needed to be trained as a tenor, and not as a bass-baritone. My voice therefore became larger in the areas where a tenor’s voice must be narrow. My muscles never learned to support the tenor tessitura. This litteraly robbed me of my true vocal nature for over 15 years.

Detecting Vocal Category

Sometimes, the vocal category is not clearly audible. A soprano or a tenor may not have the appropriate support to access high notes. A mezzo or a baritone may sound like an upper voice by using a high larynx. When I start teaching a beginner, I make sure that the posture and the breathing are addressed. As the voice releases, I may detect the passaggio notes. With the correct training, the result is a balanced voice whatever the range or category. It has been my personal experience that true passaggio notes only reveal themselves when specific requirements of singing are achieved (posture, breath management). However, passaggio notes give a certain indication. So does the evident sensation of ease and comfort in a certain voice line, or area within the range. Some singers like to sing high, others don’t. This sensation is often interesting to observe among beginners. I have once taught a singer whom I immediately identified as a possible tenor. Passaggio notes were not obvious, particularly because some tenors can have a dark colour and easy low notes. However there was a definite change of colour around high F#4, a typical pivotal note amongst numerous tenors. I knew that as soon as certain crucial technical notions would be absorbed and used by this singer, the high register would be allowed to develop more easily above this passaggio note.

Detecting Passaggio Notes

We have to look for differences in sensations and colours in the unbalanced raw voice. Detecting the low passaggio note can be somewhat tricky, mainly because some tenors may have a strong and dark voice, and a lot of chest resonance in the low register, even resembling the low register of a baritone. One can be fooled by the colour of the voice. This is why I often prefer to look for the upper passaggio, where it is difficult or almost impossible to cheat. When dealing with a dramatic voice such as mine the passaggio note is an excellent indication. One has to recall that dramatic sopranos and Heldentenors have a second passaggio or upper passaggio on a lower note than their higher colleagues. Example: my lower passaggio (first passaggio) is around C4 and my upper passaggio (second passaggio) is F4. These are the typical pivotal notes of a Heldentenor or a drammatico/robusto tenor (C.f. Frisell’s Tenor Voice; Baritone Voice; and Miller’s Structure of Singing; Training Tenor Voices). Higher tenors (spinto, lirico, di grazia etc.) have a higher passaggio, around F#4 or G4. Light lyric and Rossini tenors may even a higher upper passaggio. It is therefore unconceivable to teach all singers the same way.

Choosing Keys in Music

It might also be a good idea to choose easy and comfortable keys for the beginner within his/her vocal category. I once worked with a student on Schubert’s Ave Maria. He immediately told me that he felt ‘at home’ in the tenor key (which goes up to F4) compared to the baritone key. This certainly is not the usual reaction of a baritone, even less so of a bass. One should remember that male singers share moreless the same medium range (this also applies to the female medium range). The real difference lies in the repertoire as a tenor/soprano sings a third above a baritone/mezzo. Vocal categories therefore must be respected in choosing repertoire. I sometimes prefer a higher and brighter key, particularly in Schubert Lieder (written for pianoforte which had a clearer low range than modern pianos), whereas Mahler Lieder require an absolute control of the mixed and head voice, utterly-balanced registers (which I surely did not have when in 1991 a famous agent sent me to Germany to sing Die fahrenden Gesellen with orchestra).

Explaining Vocabulary

I usually begin the very first lesson by providing the student with an anatomical worksheet describing the larynx, the upper body, and the vocal cords (closed and open). The student has to know the basics of his instrument. He also will be hearing various vocal terms, and the vocal tutor must explain them when appropriate (C.f. Of Vocal Registers).

Posture and Breath

These are the very first notions to teach a beginner. The great Italian Masters of the Bel Canto era always devoted a great amount of time for that purpose. The postura nobile (‘noble posture’) ensures that the instrument is available for vocal studies. Once this is achieved, breathing must be explained and trained so that the student may use it to his own benefit. Proper breath management will release tension in the larynx and pharynx areas, thereby allowing for a better sound (C.f. Posture and Breath).

Cord Closure and Onset/Offset of Sound

The first vocal training must be based on the concepts of ‘onset’ and ‘offset’, especially with a beginner whose vocal cords might have a tendency to leak air. There is a very simple exercise in order to understand the cord closure and where the vocal cords are located. As weird as it may seem it took me 15 years of singing and a simple exercise with a teacher to feel the cord closure operate. I usually start around G3/A3/B3 with a man, going down so that the last note touches the low range but still easily. This study, combined with breath management, teaches the student the staccato ability.

The Italian ‘uh’ Vowel

This vowel elongates the throat space to a maximum, compared to other vowels. The student may also say ah-oh-uh and feel what changes in the throat and in the mouth. Basically, the uh allows the larynx to lower, thereby tensing and thinning the vocal cords. I teach all sorts of exercises on uh; they are hard but unbelievably good for quick and lasting progress. For instance I use different versions of scales in the medium and low registers, starting on B3/A3/G3. The extended versions of these scales always have to be initiated right below the first passaggio (between A3 and C4) and not above in order to avoid unfortunate and counter-productive tensions. One must remember that with singers, particularly male singers, the high register can scare. It is the responsibility of the teacher to avoid a ‘fear reflex’. I use these scales downwards so that the singer’s voice warms up gently but quickly. We stop when touching the low register; this can be a G2 for a baritone, or a C3 for a tenor.

Garcia’s Pharyngeal Vowels

The Garcia’s exercise helps a lot in identifying each vowel (its ’sound image’). This vocalise uses a five-tone scale, tongue between the teeth, then another five-tone scale, tongue in mouth, on the five ee – eh – ah – oh – uh vowels. By using this exercise, the study of legato and vowel alignment begins. I recommend to use this exercise in the middle area of the voice only. Later on, confirmed singers can practise it in the passaggio area and above.

Lindquest’s and Bjoerling’s Scales

Singing higher and faster must also be addressed. The idea is to alternate closed vowels (ee or eh) and open vowels (ah or oh) i.e. ee-oh or eh-ah. I usually offer the singer to choose the easiest combination. There are several versions of these scales, from the simplest one to the most elaborate one. This is used as a relaxed moment in the session. With a beginner who clearly is a tenor, I use a different version of the Lindquest/Bjoerling scales. It involves the pivot of the larynx and the vowel adjustment with the Umlaut. The pivot of the larynx and the vowel adjustment allows for an instant discovery of the essence of the male singer’s training: the passaggio and the cover. This subject is by far one of the most controversial of all. It takes time (and proper teaching) to understand the passaggio and the cover. When correctly produced, singing in the upper register becomes enjoyable.

Caruso’s Scales

Twenty-nine different versions of the scales Caruso practised daily are reproduced in Caruso, and the Art of Singing, by Salvatore Fucito and Barnet J. Bayer (Dover). They all are an excellent tool for the study of vowel adjustment and the blending of the registers.

The Cuperto Exercise

This exercise involves the falsetto in the male voice and trains piano singing in the high female voice range. Some men have an easy and natural falsetto, some don’t. The latter ones close the throat and push the jaw forward in attempt to reach the very high notes. There at two ways to prevent that. One is to explain every parameter before starting, basically feeling a soft, floating sensation. This is how I would describe my falsetto. Very pure, no body engagement other than proper posture and breath management. It is of the utmost importance that the shape of the mouth be as narrow and oval as the throat is wide and open. The greatest responsibility of the teacher is to select the first note so that the singer is not taken too high, close to the ‘fear reflex’ area. The other way to avoid the fear of the falsetto is to use full voice version of the Cuperto on the Bjoerling Umlaut. It seems that this version helps tenors more than baritones.

The Sieber Vocalises

Sieber was a Viennese Italian-trained voice teacher who composed these 8-measures exercises for his students, with different tunes for each voice type. These exercises, published by Schirmer, train the passaggio in a clever way by using closed and open vowels. They always make singing easy, healthy, technically correct. I have noticed that beginners find a great amount of joy and satisfaction in applying technique to repertoire via Sieber. It prevents the student to think that there is technique on one side, and music on the other.

Applying Technique to Repertoire

The main reason for technique is to memorize vocal mechanisms until they become habits. As we have previously seen, the student must be taught in the correct vocal category for this to become productive. Then one applies technical abilities to repertoire. Not the other way round. Students should realize that technique and musicality are closely intertwined. A singer who truly possesses a complete range of exercises can always go back to that ‘home base’ when facing trouble in a piece of music. The student gradually becomes his own vocal tutor, the utmost gift a teacher can give to his/her student.

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Of Vocal Registers, by Gilles Denizot

Singers and teachers constantly refer themselves to certain technical terms in order to describe the various registers of the singing voice. The basic concepts are accepted by some and refuted by others. A very natural confusion settles down among students (who do not understand what their professor means) and amongst vocal tutors (who do not use the same vocabulary). The reason is essentially due to the complexity of vocal mechanisms. Solid notions in anatomy and in vocal physiology are indispensable to understand and teach singing. We would like to enumerate and attempt to define here the most common terms.

One must establish at once that if one divides the voice into several parts or registers, one implies the necessity of a passage from one register to another. Is the voice effectively divided into several registers or not? Vocal homogeneity nevertheless is indispensable in high-level classical singing. It is thus necessary to learn to sing on our individual complete tessitura by preserving the same timbre. This can be obtained by accommodating one’s voice according to the pitch of notes. It is what differentiates classical singing from popular singing for example. One should not be afraid of the notion of registers, nor to imagine that one sings certain notes in chest, the others in head, but to view beautiful singing as the demonstration of balance and harmony of registers.

Registration

Registration is the complete positions of the larynx that can produce various types of sounds, even before their modification by the resonators.

In Hints on Singing (p.7-8 and following), Manuel Garcia mentions the existence of three vocal registers respectively named chest, medium, and head. He recognizes that these terms are inaccurate but acceptable. Still according to Garcia, a register is a series of consecutive homogeneous sounds produced by one mechanism, differing essentially from another series of sounds equally homogeneous produced by another mechanism. Each of the three registers has its own extent and sonority, which varies according to the gender of the individual, and the nature of the vocal organ. The mechanism of registers is explained by the posture of vocal cords and its use by the singer: the chest voice causes a light tension of the complete length and width of vocal cords. The higher the note, the more the tension of the cords increases whereas the thickness decreases. At the same time arytenoids reduce the vibratory length of the cords until head voice is involved. Garcia explains that the resistance to the breath opposed by the thick sides of the vocal folds would invite the chest voice or the falsetto with thin edges. One can thus sing on the thin edges of the cords rather than using their whole mass. It considerably affects the vocal health, the vocal resistance, and the musicality of the singer. Let us note that, according to Garcia, the head voice and the falsetto are the same register. This confusing notion is not used nowadays.

Vocal Mechanisms

The student will often read the terms heavy mechanism and light mechanism: they are in fact two different ways to use the vocal cords. In this widely documented domain, the study of William Vennard is a reference. In Singing – The Mechanism and the Technic (par. 238, ed. 1967), Vennard exactly points out that because the heavy mechanism covers 2/3 of the lower tessitura, and because the light mechanism covers 2/3 of the high range, either mechanism can be employed for the middle third. It is a fundamental notion: the middle range of the singer can, by an appropriate training, reach a balance between low and high notes, and set the quality of the complete instrument. This is why the study of singing first starts with the medium, then addresses the extremes of the voice.

Heavy Mechanism

The heavy mechanism is sometimes called chest voice which creates a first misunderstanding: we believe that the chest voice is the product of the heavy mechanism, not its cause. One of the characteristics of the heavy mechanism is the dominant action of the thyroarytenoid muscle (commonly called vocalis muscle in English). The thickness of the cords creates an intense and long closure of the glottis during phonation. The accumulated pressure then opens the glottis almost like an explosion. The distance between both vocal cords is then rather important. The mechanism repeats itself then throughout the phonation in chest voice. The heavy mechanism is convenient for low notes, precisely because of the wide vibration amplitude of the cords.

Light Mechanism

The first remark concerning the heavy mechanism applies to the term light mechanism. The characteristic function in light mode is the dominant action of the thyroarytenoid ligament. Vocal cords offer a tiny resistance to the breath and the closure of the glottis is brief. The edges of vocal cords are thin.

Breath and Its Influence on Vocal Registers

One cannot avoid the subject of breath and its management when one evokes the vocal registers (C.f. our Posture and Breath article). Indeed, according to the Masters of Bel Canto, “Il canto è fiato” (singing is breath). The optimization of vocal registers is impossible if the breath is not disciplined. This is the main obstacle at the beginning of vocal studies. The student does not succeed in correctly holding the breath back. By reaction, he/she sings mostly in heavy mechanism. The larynx cannot pivot and the pharynx is not expanded enough to allow the light mechanism to occur. Extreme notes are missing, or of a mediocre quality. They gradually appear when the singer manages his/her breath.

Chest Voice (voix de poitrine, voce di petto, Bruststimme, long register)

Term used to describe the vocal timbre produced by the vocalis muscle compared to the vocal ligament. Some people speak about vibratory sensations localized in the chest rather than in the head. As Garcia said, this term is inaccurate but usually accepted notably in reference to the dark timbre, to the heavy mechanism, and to the low register or voice. One could speak of the pre-eminence of low overtones because of the low laryngeal posture. The chest voice can only be a part, the lowest, of the singer’s voice. Indeed, it is physiologically impossible to sing in chest voice in the high extreme of one’s tessitura. The tenor Adolphe Nourrit, after whom one spoke of the C di petto, meant to describe a different kind of vocal production compared to the style of singing in fashion at the time which favored a strengthened falsetto. The permanent use of the chest voice has consequences on:

1. Vocal Health: to sing in chest voice on all the tessitura simply indicates that the singer did not discover or does not use any other vocal mechanism and pushes his chest voice as far as possible, often risking damages;
2. Musicality and Style: to sing in chest voice is common in belting, but also among most beginners in classical singing as well as with singers of mediocre quality. These individuals often have no other means to reach high notes than to push the voice and to horizontally open the mouth. The great operatic repertoire is inaccessible, and the musicality is diminished. The study and the mastery of the passaggio are indispensable. The question of musicality will be addressed below.

Head Voice (voix de tête, voce di testa, Kopfstimme, short register)

Term used to describe the vibratory sensations localized in the head rather than in the chest. Some call it the high register. One can speak about the dominance of high overtones. For some professors, who often confuse head voice and falsetto, the head voice would be weaker in projection, in timbre, in power. They prefer the terms mixed or well-supported mixed voice to indicate the middle area of the voice, or even the flexible singing.

Mixed Voice (voix mixte, mixte appuyée, mezza voce)

Combination of the chest and head voice, or low and high overtones. The notion of mixed voice implies a balance of its components. The larynx is lowered, the pharynx is open, allowing the intervention of low overtones. High overtones are obtained by working with the soft palate or velum. Some people add the term supported when there is enough body implication. The term mixed voice is often used in classical vocal interpretation, notably the art songs, and particularly as regards the French repertoire. The term mezza voce does not thus indicate the head voice register. It is related to a style, a way of singing. To accomplish a mezza voce, it is not necessary to modify the full voice mechanism, but simply to reduce the intensity of the singing. One could also say that mezza voce allows to speak rather than to sing the words.

Falsetto (voix de fausset)

The treble range notably produced by counter-tenors, also called falsettists. In falsetto mode, only the thin edges seem to be used during the vibration; the internal mass of the vocalis muscles remains motionless. Singers who train their voices with the Cuperto (see below) use falsetto downwards to the lowest notes of their tessitura. In time, the typically pale and fragile falsetto strengthens itself. Some then call it reinforced or strengthened falsetto. In the case of light lyric tenors, this reinforced falsetto presents a characteristic tone and a consistency ideally adapted to the Rossini repertoire.

Low Register

The lowest notes of the human voice. Series of consecutive low notes produced by the same vocal mechanism.

Middle Register

The notes on the treble staff. Series of consecutive medium notes that combine the best qualities of the low and high registers.

High Register

The notes from the top of the treble staff to the highest pitch of human voice. Series of consecutive high notes produced by the same vocal mechanism.

Passaggio (passage or Upper Middle Register)

On an ascending scale on an open vowel, a singer clearly feels that from a certain note (which varies according to individuals) the colour of the voice changes and the laryngeal sensation becomes less comfortable. These changes occur while passing between two areas of the voice, even between two notes. If one accepts the concept of vocal differences between every tone, or the notion of registers (series of similar tones), then one should speak about pivots between the various types of tones. Each of these transitions is a passage. The purpose of the high-level classical singing is not to ignore these transitions, but to make them as imperceptible as possible for the listener. Vocal homogeneity is the result of this indispensable work.

Whistle Register (flageolet ou sifflet)

A register of the female voice extending beyond the upper fifth. Its use is not frequent. The term results from the description of the sound in this very high vocal area. Light lyric sopranos or dramatic coloraturas who practice the Cuperto may reach the upper fifth without tightening the throat or using the false cords.

Vocal Fry (Strohbass, Schnarrbass, friture)

A register of the low male voice which extends below the normal notes used in the singing or speaking voice. Like the whistle, its use is extremely rare and it is not indispensable to go further into details.

Feigned Voice (Voce Finta, voix feinte)

Translation of the Italian voce finta, sometimes used to describe falsetto, describes the timbre of the unsupported voice. The sound is too clear and inconsistent. It is often the result of a horizontal mouth posture and of the absence of physical support. Some singers unfortunately use this feigned voice as an attempt to be expressive.

Belting

A style of singing, and by extension a vocal technique, common in the musical theater. The larynx is in a particularly high posture and the closure of vocal folds is held or even forced for a longer duration. The sound becomes extremely nasal. Some consider belting the result of the chest voice pushed beyond the upper passaggio. Classical singers who do not accommodate their larynx for the high range and/or those who open their mouth horizontally involuntarily almost produce a belting sound.

Open Voice (voce aperta, voix ouverte)

The use of the chest voice in the highest possible register. Another way of describing belting. The mouth is more and more opened on the ascending scale.

Clear or White Voice (voce chiara o bianca, voix claire ou blanche)

A clear or white timbre produced by the low posture of the soft palate and the high posture of the larynx. The mouth is often opened horizontally. The tongue retracts itself and blocks the pharynx. Vibrato is missing.

Closed Voice (voce chiusa, voix fermée)

A voice which modifies itself in the upper middle register. The singer feels the pivot of the larynx and the gradual opening of the pharynx. The mouth is rounded and not too open.

Covered Voice (voce coperta, voix couverte)

A balanced voice in the high register. The timbre is dark and shiny. The larynx has pivoted and remains stable; the pharynx is open.

Full Voice (voce piena, voix pleine)

A voice which advantageously combines the qualities of the chest and the head voice. An intense voice, well-supported by the body. Caruso considered his full voice to be his natural vocal capacity.

Cuperto and Vocal Health

In the treatise Pensieri e riflessioni pratiche sopra il canto figurato published in 1774, the singer and professor Giambattista Mancini explains: In vocal training, one should divide the voice between its two natural elements – pure chest voice and small head voice. Exercise and strengthen each part separately, then join them in mixing the head voice with the chest voice. The exercise of the Cuperto is an effective educational tool. It is difficult for voice students, especially at the beginning of this specific training, to understand the utility and the benefits of the Cuperto. Our time favours rapid production rather than slow artistic maturation. Those who mould their instrument by using the Cuperto gradually notice its value. The vocal health and the performances of the singers are quite naturally improved.

Caruso Scales and Vocal Balance

Vocal balance implies that neither of the mechanisms occupies a dominant place. In order for the registration to be flexible, it is necessary to train not only the pivotal notes but also the complete range of the voice. The Caruso scales are particularly effective in this matter. Students gently understand the concepts of the rounding of vowels and the pivot of the larynx. They also work from note to note and on a long vocal distance. Singers who train with the Caruso scales gradually discover gradually tonal precision, stability in breath management, supported legato singing, and evenness of vowels. Here is an example for tenor:

The singer begins on E natural, preferably in head voice in order to facilitate the first passage on B. Should the singer start in chest voice, the access to head voice is still possible by rounding the vowel a to o on the B natural. The o that modifies itself to u in the upper middle register, right in passaggio, allows the pivot of the larynx and the opening of the pharynx. The singer smoothly reaches the characteristic second passaggio note on F#. The open throat of the singer would then allow him any higher notes, should the vocal line go further. On the descending scale, vowels alter again and the pharyngeal space reduces. This reverse accommodation of the oral cavity is critical for the tonal quality, particularly for female singers.

Musicality

Singers of inferior quality reveal considerable differences in registers and sounds. Good singers produce a balanced sound on all their tessitura. As William Vennard quite exactly wrote (quoted work, p.66): If the singer is well trained, the middle range of his voice will be produced with a dynamic balance whereby it will be difficult to call it either chest or head. He will be able to make it heavy or light, smoothly and at will, and the compass in which this is possible will expand with the maturing of his voice until it includes most of the notes that he feels free to use in public. Besides the scientifically proven fact that an open voice does not carry, few singers understand the necessity of reliable vocal tools for a high quality singing. An unbalanced instrument can not be musically reliable.

Conclusion

Vocal registers and all the corresponding definitions are subject to controversies. It is therefore wise to define the vocabulary used in the voice studio. One must also understand the various vocal mechanisms. It is the balance of the various registers – and thus the mastery of the passages – that incites to speak about a unique vocal register. Vocal evenness remains the distinctive feature of a high-quality instrument.

© OperaLab – Gilles Denizot. All Rights Reserved

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