eny, and these are the voices which are of special interest to the
teacher, and the ones for which books are made. It will be observed that
this change in the male voice takes place in the upper part of his
compass instead of in the lower, as in the female voice. This change
which is above the compass of the speaking voice of the tenor or
baritone, adds greatly to its difficulty. For this reason the training
of the male head voice requires more care and clearer judgment than
anything else in voice training.

In treating this part of the female voice we have learned that if the
heavy, or chest voice, is carried up to G or A above middle C it weakens
the tones of the middle register until they finally become useless. Then
the chest tones become more difficult and disappear one by one and the
voice has no further value. Identically the same thing happens to the
tenor who, by reason of sufficient physical strength forces his chest
voice up to G, A, or B flat. He may be able to continue this for awhile,
sometimes for a few years, but gradually his upper tones become more
difficult and finally impossible and another vocal wreck is added to the
list.

In restoring the female voice that has carried the chest voice too high
it is necessary to carry the middle register down, sometimes as low as
middle C until it has regained its power. The tenor or baritone must do
essentially the same thing. He must carry the head voice, which is a
lighter mechanism than the chest voice, down as low as this c
[Illustration: Figure F] using what is often called mixed voice. When
the pitches [Illustration: Figure G] are practiced with a sufficiently
relaxed throat the tone runs naturally into the head resonator with a
feeling almost the equivalent of that of a nasal tone, but this tone
will be in no sense nasal. It will be head voice.

THE FALSETTO

Does the falsetto have any part in the development of the head voice?
This inoffensive thing is still the subject of a considerable amount of
more of less inflammatory debate both as to what it is and what it does.
Without delay let me assure every one that it is perfectly harmless.
There is no other one thing involved in singing, immediate or remote,
from which the element of harm is so completely eliminated. It is held
by some that it is produced by the false vocal chords. This position is
untenable for the reason that I have known many singers who could go
from the falsetto to a full ringing t