Epilogue

Note: The remainder of this chapter is not essential for an understanding of vocal registers. In fact, it may be somewhat regressive for the reader for whom registers are couched into too many words and not enough scientific fact. If you continue, a warning has been issued.

Register Terminology

The terminology of vocal registers has generated a considerable amount of debate in the past, primarily because speech scientists and singing teachers have used similar terms to describe somewhat different phenomena (or different terms to describe the same phenomenon). Because physiologic and acoustic descriptions of vocal registers have been incomplete, there has been much room for debate over the number of identifiable registers, their names, their origins, and their pedagogical utility in voice training.

Terms such as pulse, fry, modal, chest, head, and falsetto are now in common use. It is appropriate to summarize some additional register terminology and to offer some preference of terms.

Lift

The term lift has been used to describe some transition points along the musical scale (Appelman, 1967; Oncley, 1973). It seems descriptive in that a decrease in acoustic loading of the vocal tract would suggest a lightened load on the vocal folds—a lift.

For lack of a more physiological descriptor, it is reasonable to continue the use of this term for favorable larynx-vocal tract interactions, especially when the supraglottal system is involved.

Loft

The term loft was proposed by Hollien (1974) to suggest the highest (loftiest) register, but it has never found wide acceptance. Instead, the term falsetto is still the primary descriptor of the light male register.

Although falsetto does little to clarify physiology, sensation, or anything else scientifically or artistically, it is a unique term that should probably be kept. It cannot be confused with much else.

Middle Voice or Mixed Voice

Middle voice or mixed voice is in current usage. It is what we have described as head voice. As far as can be determined acoustically and physiologically, middle voice has a spectral slope somewhere between chest voice and falsetto.

The amplitude of vibration of the vocal folds is close to that of chest voice, and considerable sound power can be obtained with this production. It is the primary register for females in the middle of their pitch range and for classically trained male singers in the top of their pitch range.

Identifying Characteristics

An important identifying mark of middle (head) voice is that it bridges the chest register to falsetto register without a noticeable voice break. The vocalist gets the feeling that a middle ground is achieved, where the voice is not locked into a particular register. This accompanying sensation is ample vibration in the head.

Bottleneck

This leads to the term bottleneck. Without the use of middle (head) register, the region between D₄ (294 Hz) and G₄ (392 Hz) seems to be extremely difficult to traverse, especially for males. Articulatory changes and rapid pitch changes trigger instability in phonation unless this bottleneck is widened with head register.

Strohbass

On the other end of the register scale, the term Strohbass (German for “straw bass”) has been associated with pulse register. The popping or crackling sound of this register apparently reminded someone of the crackling of dry straw. This term lends credibility to the thought that vocal fry might relate to the sound of popping grease in a frying pan.

Creaky Voice

Creaky voice is not a register but has some of the characteristics of vocal fry. A roughness is perceived, as in the sound of a creaking door. The difference is that it is more of a perception of roughness than pulses.

As will be seen in Chapter 11, creaky voice may be the result of subharmonic patterns in the glottal waveform.

Whistle Register

Whistle register is the highest of all registers (in pitch). It occurs above F₆ (1,397 Hz) in females, extending the pitch range of the coloratura voice to the flageolet voice. The sound is very flutelike and is believed to be produced by air turbulence in the glottis (without significant vocal fold vibration).

There is no clear evidence, however, that such a drastic change in sound-production mechanisms actually occurs.

Vocal Registers: Some Iowa Corn

The topic of vocal registers has ignited the passions of singing teachers but has left most other vocologists cold and bewildered. Sometimes it is best to conclude the topic with a touch of humor. Here is a truckload of Iowa corn:

There is a register called chest With a wealth of overtones Its sound is rich, let’s make no bones. The chest is set into vibration Because of tracheal resonation But the evidence is anecdotal So some prefer a term like modal To describe this register in speech. But beware of notes beyond your reach!

Although the chest is rather thrilling You find your voice is most unwilling To continue toward high C Unless you are Pavarotti.

Now the loft is much too soft If you don’t have firm adduction Old Bernoulli loses suction. Just a small posterior chinky Makes the sound quite rinky-dinky Therefore loft is not employed too oft And the chest is still the best.

If they say your voice is brittle If it cracks, you need the middle For the higher tessitura So your top will be securer. Each newly mastered vocal lift Becomes a highly treasured gift. And when you’ve mastered the passaggio You’ve made a hit, like Joe DiMaggio.

Those who say “Ah, what the heck” Will never pass this bottleneck. So a singer has to have the middle But for the rest, “Well chest is best.”

Now if you absolutely have no middle All is not lost, just grab a fiddle And sing a country-western song It’s really hard to do it wrong. A sudden break is a desired feature And comes quite naturally to every creature. In fact, with only loft and modal you can yodel.

So: If you have falsetto, but no head You may be hurting, but you’re not dead. By now you’ve guessed, “Just use your chest!”

Now when the frequency is low When the glottal puffs of air are slow The chest will change to vocal fry A crackling sound, like straw that’s dry.

At times the vocal fry goes creaky This makes a nasty sound—so freaky That it’s used by demons and by witches It raises havoc with the pitches ‘Cause single pulses turn to doubles That gives our ears tremendous troubles.

A final question we must pose: “Can fry be uttered through the nose?” French Fry it’s called, a minor register at best Don’t be distressed, “Stick to the chest.”

Ingo R. Titze

Concluding Thoughts

The study of vocal registers bridges multiple disciplines—perceptual psychology, acoustics, biomechanics, and pedagogy. While terminology debates may seem esoteric, they reflect genuine challenges in describing a complex, multidimensional phenomenon that spans physiological, acoustic, and perceptual domains.

The key insights from this chapter include:

Registers are real perceptual phenomena with measurable acoustic and physiological correlates
Two primary transition types exist: temporal gap transitions and spectral slope transitions
Involuntary transitions can be explained (at least partially) by subglottal resonance effects and muscle stress limitations
Skilled control requires integration of respiratory, laryngeal, and articulatory strategies
Stylistic context matters—what is a disorder in one context may be an asset in another

Despite the complexity and occasional confusion surrounding register terminology, the practical reality remains: singers must navigate register transitions, clinicians must assess register function, and researchers must continue to refine our understanding of these phenomena.

Summary

The epilogue addresses the ongoing debate over register terminology, noting that speech scientists and singing teachers have historically used similar terms for different phenomena and different terms for the same phenomena. Various register terms are examined including lift, loft, middle voice, bottleneck, Strohbass, creaky voice, and whistle register, with recommendations for their continued use or abandonment. The chapter concludes with a humorous poem summarizing register concepts in a lighthearted manner, acknowledging that while the topic has generated considerable debate and passion among vocal pedagogues, a touch of humor can help put the complexities into perspective while still honoring the genuine challenges in understanding and teaching vocal registers.

Key Takeaways

✅ Register terminology debates reflect genuine challenges in describing multidimensional phenomena spanning perceptual, acoustic, and physiological domains
✅ Terms like pulse, fry, modal, chest, head, and falsetto have achieved common acceptance despite some ambiguity
✅ “Lift” usefully describes favorable larynx-vocal tract interactions involving the supraglottal system
✅ “Middle voice” or “mixed voice” refers to head register, bridging chest and falsetto without noticeable breaks
✅ The “bottleneck” between D₄ and G₄ represents a challenging transitional region requiring head register development
✅ Creaky voice differs from vocal fry in being perceived more as roughness than discrete pulses
✅ Whistle register represents the highest pitch range, though its production mechanism remains debated
✅ Despite terminological complexity, practical realities of teaching and clinical practice remain paramount

Epilogue

Epilogue

Register Terminology

Lift

Loft

Middle Voice or Mixed Voice

Identifying Characteristics

Bottleneck

Strohbass

Creaky Voice

Whistle Register

Vocal Registers: Some Iowa Corn

Concluding Thoughts

Summary

Key Takeaways

Related Topics

Further Reading