THE REGISTERS OF THE SINGING VOICE.
A controverted subject—Definitions of a register—Qualifications for dealing with this subject—Madame Seiler—Tabular statement of her views—Garcia's and Behnke's divisions of registers—Sir Morell Mackenzie's views in detail—The author's earlier investigations—Madame Marchesi's views and practice [151]
[CHAPTER XI.]
FURTHER CONSIDERATION OF THE REGISTERS OF THE SINGING VOICE.
Auto-laryngoscopy and photography of the larynx—Dogmatism and science—Confusion and controversy—The break—Ignoring registers—Modification of tones, or "covering"—Points of agreement between different writers on the subject—The falsetto for males—Madame Seiler's special qualifications—Behnke's and Mackenzie's views—The author's conclusions—Rule for the extension of a register—Why certain artists deteriorate while others do not—-Males and females compared as to registers—The division of the registers for female voices recommended by the author—Teacher and pupil as regards registers—Objection to registers answered—The manner of using the breath and registers—How to distinguish registers—The teacher's part—Hearing singers of eminence is recommended—Madame Melba—Guiding sensations—Summary [161]
[CHAPTER XII.]
FUNDAMENTAL PRINCIPLES UNDERLYING VOICE-PRODUCTION.
Artistic expression only through movements—Emotions and technique—Relation of ideas to movements—Memories and movements—Guiding sensations essential for movements—The principles underlying all movements the same—Associated reflexes and habits—How habits are formed—inhibitions and their importance—Early practices only before the teacher—Careful practice with concentration of energy the best—Queries as to practice—Fatigue a warning—Practice in the early hours of the day, and short of fatigue—Quality to be aimed at rather than quantity—The total amount of time to be devoted to practice—"Hasten slowly;" "Little and often"—The treatment of the voice ruined by wrong methods—Summary [179]