Philosophy of vocal culture : a textbook of vocal training and preparation for song interpretation . ddle registers andlower notes of the upper register have been reasonably wellblended, and the voice more or less equalised over their com-pass, practice should be commenced in the singing of vocalexercises such as have been suggested, so that the passing ofthe voice from one register to any other, without any display ofbreaks or changes in the quality or placing of the tone, becomespossible, the aim being to maintain one level, equal qualitythroughout. The further development and equalisation o
Philosophy of vocal culture : a textbook of vocal training and preparation for song interpretation . ddle registers andlower notes of the upper register have been reasonably wellblended, and the voice more or less equalised over their com-pass, practice should be commenced in the singing of vocalexercises such as have been suggested, so that the passing ofthe voice from one register to any other, without any display ofbreaks or changes in the quality or placing of the tone, becomespossible, the aim being to maintain one level, equal qualitythroughout. The further development and equalisation of the upper re-gister and its blending with the head voice can be proceededwith. As the lower limits of the upper register become blendedwith the upper half of the upper-middle register, the singingDf consecutive single notes downwards is discontinued. Theexercises utilised for the development of the upper register blending with the head voice, are composed of scales and^arts of scales which swing the voice from the lower registersinto the upper register and head voice, : etc. ^> ^. etc etc. 88 Vocal Training. The Mezzo-Soprano Head Voice. As the upper register develops, so should the blending of itwith the head voice be proceeded with. The production of thehead voice, which should not be attempted until the other re-gisters have advanced in the process of blending, is commencedby the singing of scales pianissimo of seven, eight and ninenotes into it from the upper-middle and upper register, to suchsyllables as Noo; No, Nee The actual placing of thenotes of the head voice should be allowed to look after itselfuntil their formation has been accomplished (see chapter onVoice Placing). When the tones of the head voice can beproduced at will, their correct placing should be nextconsidered. In the process of the development of the head voice, thesinger may experience a break in the continuity of its tone as the mezzo-soprano ascends past about ^zzz^ii and the sopranO p
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