The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1885-01-09
MUSIC-VOCAL AND IN
STRUMENTAL.
Continued from last aUseE. J

lC0fatanlted from last week.
Of the different registers of the voice,
referred to last week, the falsetto re-
quires the most patient and thorough
training. The falsetto notes are very
unlike those of the middle or chest
register. I do not infer, however, that
one kind of tone is produced in the
chest and the other in the head. All
tones produced by the voice are gener-
ated by or from the larynx-the hereto
fore spoken ofreed. The different char
acters of tone that may be apparent, as
the voice ascends or descends through
its scale of pitch, is due, largely, to the
reinforcement. Any singer, with even
limited knowledge of the voice, can,
by carefulness, discover just where the
reinforcement arises, and from these
phenomena have arisen the expressions,
chest, voice, falsetto, head. etc. There
is, without doubt, change in the con-
dition of the vocal ligaments as the
singer ascends or descends the scale,
which, with the reinforcements, gives
color or individuality to registers.
Searchers after truth in regard to this
phenomenon in the voice are rapidly
drifting to the one idea of registers.
Among the latest investigations, in my
possession, are those of DR.. Lenox
Browne and Prof. Behnlse, both of
London. The old Italian masters were
very proud Of being able to so educate
the falsetto register of tenor voice that
it was difficult to distinguish chest-tones
and falsetto-tones from one another,
even for an ear accustomed to observe
the finest distinctions of sounds. When
in the male organ there exists the power
of bringing the edges of the vocal liga-
ments into vibratory motion, and when
tones at the beginning, compared with
the chest-tones of the same voice, are
weak and thin, then they may with
skill and perseverance be trained to
quite similar fullness In the cultivation
of the falsetto-tones they should be pro-
duced very piano, and staccato. By
long continued and careful practice the
muscles lying within the membranes of
the vocal ligaments are drawn more and
more back in the giving out of the
sound, and the vibrating edges of the
ligaments become gradually broader,
with large vibrations. Thus the falsetto
tones gain more and more in fullness
and strength, and are far more agreeably,
and consequently more valuable, than
forced-up chest-tones ofthe average voice.
The falsetto is of three-fold value.
First, in a developing agency. By its
means the voice may be extended con-
siderably in range. 1t is not seldom the
case that a young man will apply for in
structions, having the abilitytO sing only
to B, space above the F cleft That is,
the upper-chest, or what the Italians
term the naeszo-petto" is entirely
lacking. This may be thoroughly es-
tablished by means of the falsetto. The
first difficulty will be found in establish
ing the falsetto itself. To do this it is
necessary to begin much higher than
the pupil is expected to sing, and bring
the tone down gradually until it has
passed below the B. The next difficulty
will be found in passing from the falsetto
to firm tone, which is called transition.
1t will be found that the tendency is for
the middle voice to fall an octave when
the change occurs. This subject, dealt
with carefully, will produce regularly
succeeding tones from chest to falsetto
register. Then, too, as the loosening of
the earth about the roots of tree will
assist its healthy growth, SO the loosen
ing of the laryngeal action will enable
the Voice to lower, and frequently two
or three tones may be added to the
voice. Secondly, the falsetto is a healing
agency. When the voice has been in
jured by forcing, or otherwise, it may be
greatly relieved, and in many cases re-
stored, through the proper use of the
falsetto. Thirdly, the falsettoi is boauti-
tying agency. Having established it,
and the free and easy change to the chest
voice at the proper place, the voice be-
comes more agreeable-the rough graf
ing sounds disappear, and what we term
a mellow tone takes its place. But this
action may be abused in this manner
All collegians seem to take great delight
in yodeIing or eOarbIirag species of Ito
them) heavenly music, which is pro-
duced by suddenly breaking over from
the chest-voice to the falsetto. This is
not good thing to do, for it is really
destructive of good tone. That is, it is
just possible to take an overdose of the
falsetto.
FRANCIS L. RAwsoN.
l.. \