Editing Singing (section)

===Vocal registers and transitions===

One cannot adequately discuss the vocal ''passaggio'' without having a basic understanding of the different vocal registers.  In his book ''The Principles of Voice Production'', Ingo Titze states, "The term ''register'' has been used to describe perceptually distinct regions of vocal quality that can be maintained over some ranges of pitch and loudness."<ref>Ingo R. Titze,  ''The Principles of Voice Production'',  Second Printing  (Iowa City: National Center for Voice and Speech,  2000)  282.</ref> Discrepancies in terminology exist between different fields of vocal study, such as teachers and singers, researchers, and clinicians. As Marilee David points out, "Voice scientists see registration primarily as acoustic events."<ref>Marilee David,  The New Voice Pedagogy,  2nd ed.  (Lanham, MD:  The Scarecrow Press, Inc.,  2008)  59.</ref> For singers, it is more common to explain registration events based on the physical sensations they feel when singing.  Titze also explains that there are discrepancies in the terminology used to talk about vocal registration between speech pathologists and singing teachers.<ref>Ingo R. Titze,  ''The Principles of Voice Production'',  Second Printing  (Iowa City: National Center for Voice and Speech,  2000)  281.</ref> Since this article discusses the ''passaggio'', which is a term used by classical singers, the registers will be discussed as they are in the field of singing rather than speech pathology and science.

The three main registers, described as head, middle (mixed), and chest voice, are described as having a rich timbre, because of the overtones due to the [[sympathetic resonance]] within the human body. Their names are derived from the area in which the singer feels these resonant vibration in the body.  The chest register, more commonly referred to as the chest voice, is the lowest of the registers. When singing in the chest voice the singer feels sympathetic vibration in the chest.  This is the register that people most commonly use while speaking. The middle voice falls in between the chest voice and head voice. The head register, or the head voice, is the highest of the main vocal registers.  When singing in the head voice, the singer may feel sympathetic vibration occurring in the face or another part of the head. Where these registers lie in the voice is dependent on sex and the voice type within each sex.<ref>{{cite book|last1=Miller|first1=Richard|title=The Structure of Singing|date=1986|publisher=Schirmer Books|location=New York, NY|isbn=002872660X|page=[https://archive.org/details/structureofsingi0000mill/page/115 115]|url=https://archive.org/details/structureofsingi0000mill/page/115}}</ref>

There are an additional two registers called [[falsetto]] and [[whistle register|flageolet]] register, which lie above their head register.<ref>Richard Miller, The Structure of Singing: System and Art in Vocal Technique (New York:  Schirmer Books: A Division of Macmillan, Inc., 1986) 115-149.</ref><ref>Marilee David, The New Voice Pedagogy,  2nd ed.  (Lanham, MD:  The Scarecrow Press, Inc., 2008)  63.</ref> Training is often required to access the pitches within these registers.  Men and women with lower voices rarely sing in these registers.  Lower-voiced women in particular receive very little if any training in the flageolet register.  Men have one more additional register called the [[vocal fry register|''strohbass'']], which lies below the chest voice.  Singing in this register is hard on the vocal cords, and therefore, is hardly ever used.<ref>Richard Miller, The Structure of Singing: System and Art in Vocal Technique (New York: Schirmer Books: A Division of Macmillan, Inc., 1986) 125.</ref>