y, the same focus,
or placing without rounding the lips. It amounts to singing _o_ with the
_ah_ position. When this can be done then use short _u_ as in the word
_hum_. This gives approximately the placing for _ah_ in the upper voice.
When these vowels can all be sung with perfect freedom transpose upward
by half steps.

[Illustration: Exercise No. 7]

In No. 7 when the crescendo has been made on the upper tone carry the
full voice to the bottom of the scale.

[Illustration: Exercise No. 8]

This is another way of blending the different parts of the voice. It
should be sung portamento in both directions. When sung by a female
voice it will be Middle, Head, Middle as indicated by the letters M, H,
M. When sung by the male voice it will be Chest, Head, Chest as
indicated by the letters C, H, C. Transpose upward by half steps.

When the foregoing exercises are well in hand the head voice may be
approached from the middle and lower registers in scale form as in the
following:

[Illustration: Exercise No. 9]

[Illustration: Exercise No. 10]

[Illustration: Exercise No. 11.]

[Illustration: Exercise No. 12.]

[Illustration: Exercise No. 13.]

The fact that male voices are more often throaty in the upper register
then female voices calls for special comment.

The following diagram showing the relationship of the two voices will
help to elucidate the matter.

[Illustration: Figure E]

I have here used three octaves of the vocal compass as sufficient for
the illustration. Remembering that the male voice is an octave lower
than the female voice we shall see that the female voice is a
continuation, as it were, of the male voice; the lower part of the
female compass overlapping the upper part of the male compass, the two
having approximately an octave G to G in common. Further it will be seen
that both male and female voices do about the same thing at the same
absolute pitches. At about E flat or E above middle C the alto or
soprano passes from the chest to the middle register. It is at the same
absolute pitches that the tenor passes from what is usually called open
to covered tone, but which might better be called from chest to head
voice. There is every reason to believe that the change in the mechanism
is the same as that which occurs in the female voice at the same
pitches. That there is oftentimes a noticeable readjustment of the
mechanism in uncultivated voices at these pitches no observing teacher
will d