chest-register

Madame Seiler, in “The Voice in Singing,” gives as the result of original investigations with the laryngoscope five different actions of the vocal bands which she classifies as “first and second series of the chest-register,” “first and second series of the falsetto register” and

The Child-Voice in Singing treated from a physiological and a practical standpoint and especially adapted to schools and boy choirs Francis E. Howard

When, now, it is remembered that the adult female voice leaves the chest-register at

The Child-Voice in Singing treated from a physiological and a practical standpoint and especially adapted to schools and boy choirs Francis E. Howard

Tones sung in the thick or chest-register are produced by the full, free vibration of the vocal bands in their entire length, breadth and thickness.

The Child-Voice in Singing treated from a physiological and a practical standpoint and especially adapted to schools and boy choirs Francis E. Howard

The head-tones again make their appearance, and the practice of _solfeggio_ brings out once more the stifled voice which had been forced back into the throat by senseless exertions; a better attack begins to be developed, and the chest-register returns to its natural limits.

Piano and Song How to Teach, How to Learn, and How to Form a Judgment of Musical Performances Friedrich Wieck 1829

A tenor who wishes to preserve his voice and not to scream in the upper tones, who desires always to have a _piano_ at command and to possess the necessary shading and lightness as well as elegance and flexibility, should cultivate the _falsetto_, and endeavor to bring it down as far as possible into the chest-register.

Piano and Song How to Teach, How to Learn, and How to Form a Judgment of Musical Performances Friedrich Wieck 1829

It ought to be almost imperceptibly connected with the chest-register by the introduction of the mixed tones.

Piano and Song How to Teach, How to Learn, and How to Form a Judgment of Musical Performances Friedrich Wieck 1829

_softly enough_, and carry their tones neither too high nor too low, always taking into account the grade or average age of the class, then the voice will be used _only in the thin or head-register_, and the tones of the thick or chest-register will never be heard.

The Child-Voice in Singing treated from a physiological and a practical standpoint and especially adapted to schools and boy choirs Francis E. Howard

_Thus, as at this place in the chest-register, there occurs a visible and sensible straining of the organs, so also is it in all the remaining transitions, as soon as the attempt is made to extend the action by which the lower tones are formed beyond the given limits of the same_.”

The Child-Voice in Singing treated from a physiological and a practical standpoint and especially adapted to schools and boy choirs Francis E. Howard

In dealing with children’s voices, it is necessary to recognize only two registers, the thick, or chest-register, and the thin, or head-register.

The Child-Voice in Singing treated from a physiological and a practical standpoint and especially adapted to schools and boy choirs Francis E. Howard