Would someone on this list mind > explaining these > concepts in simple terms? Also, how can I discover > for myself where > the transitions occur in my own voice? (any > exercises or anything?) > > Thanks, > C. >
IMO, it requires another pair of trained ears to listen for registration events. But you can do a little judging by the repertoire that feels comfortable for you.
There are many different ideas about registration. Some people contend that the entire voice is one register (not a lot of help for, say, a young soprano who can't seem to make all of the f#s in Elle a fui work!), some say each note is a separate register (which in a way I guess is true, but is of little use in classifying voices!), and many subscribe to the way Miller uses these words. Essentially, a register is a range in the voice that has certain similar qualities and in which the sound and production is inherently different from that of the other registers.
I don't have the "official" definitions handy, but the three register concept (Miller's)goes like this:
1. Chest register, which is similar to the speaking voice. For females, this begins at your lowest range and continues up to somewhere between middle C and G, where the first transition (or passaggio) occurs.
2. Above this is middle or mixed voice, which many describe as a combination of chest register and head. Again roughly, this will go from the first transition point and extend to about E flat to A flat five (the second passaggio), depending on the voice type.
3. Above this is head voice, which extends until your voice goes into whistle register, which really is a somewhat separate entity, but is not really discussed much, hence the THREE-register concept.
There is a page in Miller where he visually maps this out. That is much easier to understand than reading a description. It is somewhere around page 50 of SOS, I think.
I find the first "lift", which is about a perfect fourth below the second passaggio, and the second passaggio to be the most helpful in classifying voices. The first passaggio seems to vary for each individual, whereas the "lift" and second passaggio seem are usually consistent within each voice type.
Everyone seems to have their own idea about how these concepts work and what their value is in the studio, so I am certain we will be hearing many other ideas. The above, however, is pretty much widely accepted among vocal pedagogues. I hope I was clear; if I screwed anything up I'm sure I'll hear about it!
Melinda
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