voice is as necessary to artistic success as the
full voice. The singer must have both, but he must never sacrifice
quality for power.

In the female voice the readjustments of the mechanism known as changes
of register usually occur at about [Illustration: Figure B].

In many lyric soprano voices I have found the same readjustment at the B
and C above the staff [Illustration: Figure C].

I have also noted in many bass voices a similar change of adjustment at
the E and F below the bass clef [Illustration: Figure D].

It would seem therefore, that in a majority of voices until an even
scale has been developed, that these readjustments appear at about the E
and F and B and C throughout the vocal compass. The exceptions to this
rule are so numerous however, that it can scarcely be called a rule.
Some voices will have but one noticeable readjustment, and it may be any
one of the three.

In some voices the changes are all imperceptible. In others, due to
wrong usage, they are abrupt breaks. In every instance the teacher must
give the voice what it needs to perfect an even scale. There should be
no more evidence of register changes in the vocal scale than in the
piano scale.

Leaving the lower two changes for the moment, let us consider the one at
the upper E and F. This one is so common among sopranos that there are
few who have not one, two, or three weak tones at this point. To avoid
these weak tones many are taught to carry the thicker tones of the
middle register up as far as they can force them in order to get the
"big tone" which seems to be the sole aim of much modern voice teaching.
The victims of this manner of teaching never use the real head voice,
and one thing happens to them all. As time goes on the upper voice grows
more and more difficult, the high tones disappear one by one, and at the
time when they should be doing their best singing they find themselves
vocal wrecks. Some of them change from soprano to alto and end by that
route.

Now these are not instances that appear at long intervals. They are in
constant evidence and the number is surprisingly large. The cause is
ignorance of how to treat the upper voice, together with an insane
desire for a "big tone" and a lack of patience to await until it grows.
The incredible thing is that there is a teacher living whose ear will
tolerate such a thing.

Now there is a way to develop the head voice that gives the singer not
only the full power of his upp