. How to sing : a complete treatise on singing with practical illustrations and diagrams. B and from that point upwards force the voice to make the high tones. All the other voices having concert tones up to or beyond E or F J« 1 Izzj must face the difficulty or struggle along in haphazard fashion with two sections of an incompleted tenors and sopranos come across high passages marked pp and, having sufficient acquaintance with their own personalshortcomings, are compelled to acknowledge the necessity for cultiva-ting a lighter and thinner quality of voice. Which shall it be,
. How to sing : a complete treatise on singing with practical illustrations and diagrams. B and from that point upwards force the voice to make the high tones. All the other voices having concert tones up to or beyond E or F J« 1 Izzj must face the difficulty or struggle along in haphazard fashion with two sections of an incompleted tenors and sopranos come across high passages marked pp and, having sufficient acquaintance with their own personalshortcomings, are compelled to acknowledge the necessity for cultiva-ting a lighter and thinner quality of voice. Which shall it be, is theinward enquiry of the budding tenor, head voice or falsetto c f * * d * f § d f g. V Upper TkicR V V V lower Tkirv Upper H\iiv Snv&ll Some vocalists, especially contraltos and low pitched mezzo-sopranos, seem to delight in singing with a most disagreeable klick 34 How to Sing. when passing the break on middle F; in fact, it appears as if many con-traltos consider the breaks as natural adornments to the voice, for theyexhibit them on every conceivable occasion. It is a habit very easy toacquire but most difficult to shake off; one, too, which materiallyshortens the natural life of any voice if persistently followed. THE HEAD VOICE. And what about the upper break? In men, the two thin registers—head and falsetto—overlap each other, but the qualities are so differentthat the majority of singers leave either the one or the other severelyalone, cultivating and employing that which comes to them , unfortunately, is the falsetto or upper thin, a voice sounded withlittle or no effort, and one which grows fairly resonant with constantuse. Neglect of the l
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