This historic book may have numerous typos and missing text.
Purchasers can download a free scanned copy of the original book
(without typos) from the publisher. Not indexed. Not illustrated.
1908 Excerpt: ...medium tenor tones (Fig. 3, c). The middle range
of tones, at b, are therefore uncertain tones in all heavy bass
voices. A certain number--say four, five, or possibly six--can be
produced in the chest register (/), if delivered forte; but the
upper tones, at e, cannot be produced in chest in every bass voice.
And since they The chest register extends from the lower range, at
a, to the four lower tones in the middle range, at b. In the
production of the latter four tones some basses experience a change
in the vocal function, which no doubt is caused by the slight
change necessary in the proportions of the cup, if these four tones
are not produced in the chest register. To obtain these four tones
in chest a certain degree of added energy in the vocal organ is
required, particularly if these tones are to be sung forte. If this
muscular energy is not employed the muscles expanding the cup (Fig.
6, h, h) for the production of the chest tones will relax, as also
the position of the pocket bands (Fig. 6, d, d, ); and this change
will establish either a smaller cup cannot be obtained in the pure
medium register, some compromise must be effected for the
production--in a forte phrase--of these high tones. This consists
in cul-tivating this part of the bass voice to enable the singer to
produce them in a full head tone quality, which ought to be carried
down as low as possible (at g), so as to include as many of the
upper tones in this range (at b) as can be obtained. Without this
proper training a bass would ordinarily produce these high tones in
a thin falsetto, not in keeping with the full quality of the lower
tones in chest. The artistic cultivation of these tones depends
therefore entirely on the natural capacity of the singer. If he is
able to control the muscles..
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