nce," are used interchangeably by the great majority of teachers.
This is also true of the expressions "chest voice," "chest resonance,"
and "chest register."

In practical instruction, the extending of the compass of the voice is
usually treated, rather loosely perhaps in most cases, as a feature of
the registers. Methods vary greatly in points of detail, but in most of
them instruction on this topic is given along the same general lines.
Usually the three classes of voices receive different treatment, one
form of instruction being used for sopranos and tenors, another for
mezzo-sopranos and baritones, and a third for altos and bassos.

In teaching students with high voices, teachers usually "place"[5] the
medium notes first, roughly speaking, from G to d (for male voices one
octave lower). Then the lower notes are developed, mostly by descending
scale passages, the lowest note practised being usually C. The high
notes are sometimes "placed" by ascending scale passages and arpeggios,
but more often by the octave jump and descending scale. There is room
for considerable variation in this class of exercises, but they all
conform to the same general principle.

[Note 5: The expression "placing the voice" is more fully treated in
Chap. VI. It is assumed, however, that the reader is familiar with the
ordinary usage of this expression.]

For mezzos and baritones about the same system is followed, the
exercises being sung a major third or so lower. In the case of
contraltos and bassos, the voice is usually trained from the middle in
both directions. Most teachers favor the "chest voice" for singers of
these types throughout the entire compass.

A discussion of the use of special vowels and consonants in this class
of exercises is contained in Chapter V.

It must not be understood that this topic of instruction is assigned by
many teachers to any particular period of the student's progress.
Moreover, practice in the registers seldom forms the exclusive material
of lessons and home study for any definite time. The wide range of
topics considered in the average singing lesson has already been
mentioned.

Very little connection can be traced between the scientific doctrine of
registers, and the treatment which this subject receives in modern
methods. This is only to be expected, in view of the fact that
laryngoscopic investigation has not resulted in practical rules for
managing the vocal cords. The registers of the voice