Page 1
THE FLORIDA STATE UNIVERSITY
COLLEGE OF MUSIC
VOCAL REGISTERS OF THE COUNTERTENOR VOICE
BASED ON SIGNALS RECORDED AND ANALYZED IN VOCEVISTA
By
RAYMOND CHENEZ
A treatise submitted to the
College of Music
in partial fulfillment of the
requirements for the degree of
Doctorate of Music
Degree Awarded
Spring Semester 2011
All rights reserved
INFORMATION TO ALL USERSThe quality of this reproduction is dependent on the quality of the copy submitted
In the unlikely event that the author did not send a complete manuscriptand there are missing pages these will be noted Also if material had to be removed
a note will indicate the deletion
All rights reserved This edition of the work is protected againstunauthorized copying under Title 17 United States Code
ProQuest LLC789 East Eisenhower Parkway
PO Box 1346Ann Arbor MI 48106 - 1346
UMI 3477195
Copyright 2011 by ProQuest LLC
UMI Number 3477195
ii
The members of the committee approve the treatise of Raymond Chenez defended on March 20
2011
_______________________________________
Wanda Brister Rachwal
Professor Directing Treatise
_______________________________________
Seth Beckman
University Representative
_______________________________________
Roy Delp
Committee Member
_______________________________________
Larry Gerber
Committee Member
_______________________________________
David Okerlund
Committee Member
The Graduate School has verified and approved the above-named committee members
iii
ACKNOWLEDGEMENTS
I would like to thank all the individuals who made this treatise possible To the
countertenors who participated Dan Bubeck Anthony Roth Costanzo Todd Doering Brennan
Hall Michael Kapinus Nathan Medley Reginald Mobley Andrew Rader Steven Rickards
Peter Thoreson and Jay White Thank you for your willingness in lending your voices to this
project I would especially like to thank Steven Rickards for his generous hospitality and help in
arranging the assistance from many of the above-mentioned singers
To Donald Miller I extend my thanks for your assistance during this process Without
your research this treatise would not have been possible
To David Okerlund thank you for your commitment to this project I enjoyed all the
time spent analyzing VoceVista signals and discussing the voice I truly appreciate your efforts
and assistance
To my voice teachers Wanda Brister Rachwal and Roy Delp I would like to thank you
for everything you have given me over the past five years You have gone above and beyond
your duties as voice teachers and have made a lasting impact on my life
iv
TABLE OF CONTENTS
List of Figures v
Abstract x
INTRODUCTION 1
METHOD 6
UPPER REGISTER 19
MIDDLE REGISTERS 31
CHEST REGISTER 42
CONCLUSIONS 63
GLOSSARY 65
APPENDICES 69
A HUMAN SUBJECTS COMMITTEE APPROVAL LETTER 69
B INFORMED CONSENT LETTER 71
BIBLIOGRAPHY 73
BIOGRAPHICAL SKETCH 75
v
LIST OF FIGURES
Figure 11 Manuel Garcia IIlsquos table of registers 3
Figure 12 Peter Gileslsquo system of registration 4
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone 7
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown 8
Figure 23 Spectrogram extracted from Figure 22 9
Figure 24 Power spectrum extracted from Figure 22 10
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown 12
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25 13
Figure 27 Audio waveform extracted from Figure 25 14
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract 15
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B) 16
Figure 210 First and second formant frequency ranges of eight vowels during speech 17
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B) 19
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1 20
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2 21
vi
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 22
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 22
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 24
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 24
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B) 26
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B) 28
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B) 29
Figure 311 EGG waveform indicating an unstable larynx 30
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2 32
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3 32
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2 34
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3 34
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H3 35
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 36
vii
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H2 37
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3 38
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B) 39
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B) 40
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B) 41
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B) 43
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 44
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 45
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B) 46
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3 47
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4 47
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B) 48
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H3 49
viii
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H4 50
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B) 51
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B) 52
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B) 52
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B 53
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B 54
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H3 55
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H4 55
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3 56
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4 57
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 58
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 58
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B) 59
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano 60
ix
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B) 61
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3 62
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4 62
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments 64
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 2
All rights reserved
INFORMATION TO ALL USERSThe quality of this reproduction is dependent on the quality of the copy submitted
In the unlikely event that the author did not send a complete manuscriptand there are missing pages these will be noted Also if material had to be removed
a note will indicate the deletion
All rights reserved This edition of the work is protected againstunauthorized copying under Title 17 United States Code
ProQuest LLC789 East Eisenhower Parkway
PO Box 1346Ann Arbor MI 48106 - 1346
UMI 3477195
Copyright 2011 by ProQuest LLC
UMI Number 3477195
ii
The members of the committee approve the treatise of Raymond Chenez defended on March 20
2011
_______________________________________
Wanda Brister Rachwal
Professor Directing Treatise
_______________________________________
Seth Beckman
University Representative
_______________________________________
Roy Delp
Committee Member
_______________________________________
Larry Gerber
Committee Member
_______________________________________
David Okerlund
Committee Member
The Graduate School has verified and approved the above-named committee members
iii
ACKNOWLEDGEMENTS
I would like to thank all the individuals who made this treatise possible To the
countertenors who participated Dan Bubeck Anthony Roth Costanzo Todd Doering Brennan
Hall Michael Kapinus Nathan Medley Reginald Mobley Andrew Rader Steven Rickards
Peter Thoreson and Jay White Thank you for your willingness in lending your voices to this
project I would especially like to thank Steven Rickards for his generous hospitality and help in
arranging the assistance from many of the above-mentioned singers
To Donald Miller I extend my thanks for your assistance during this process Without
your research this treatise would not have been possible
To David Okerlund thank you for your commitment to this project I enjoyed all the
time spent analyzing VoceVista signals and discussing the voice I truly appreciate your efforts
and assistance
To my voice teachers Wanda Brister Rachwal and Roy Delp I would like to thank you
for everything you have given me over the past five years You have gone above and beyond
your duties as voice teachers and have made a lasting impact on my life
iv
TABLE OF CONTENTS
List of Figures v
Abstract x
INTRODUCTION 1
METHOD 6
UPPER REGISTER 19
MIDDLE REGISTERS 31
CHEST REGISTER 42
CONCLUSIONS 63
GLOSSARY 65
APPENDICES 69
A HUMAN SUBJECTS COMMITTEE APPROVAL LETTER 69
B INFORMED CONSENT LETTER 71
BIBLIOGRAPHY 73
BIOGRAPHICAL SKETCH 75
v
LIST OF FIGURES
Figure 11 Manuel Garcia IIlsquos table of registers 3
Figure 12 Peter Gileslsquo system of registration 4
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone 7
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown 8
Figure 23 Spectrogram extracted from Figure 22 9
Figure 24 Power spectrum extracted from Figure 22 10
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown 12
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25 13
Figure 27 Audio waveform extracted from Figure 25 14
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract 15
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B) 16
Figure 210 First and second formant frequency ranges of eight vowels during speech 17
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B) 19
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1 20
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2 21
vi
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 22
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 22
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 24
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 24
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B) 26
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B) 28
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B) 29
Figure 311 EGG waveform indicating an unstable larynx 30
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2 32
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3 32
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2 34
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3 34
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H3 35
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 36
vii
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H2 37
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3 38
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B) 39
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B) 40
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B) 41
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B) 43
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 44
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 45
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B) 46
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3 47
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4 47
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B) 48
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H3 49
viii
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H4 50
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B) 51
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B) 52
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B) 52
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B 53
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B 54
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H3 55
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H4 55
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3 56
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4 57
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 58
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 58
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B) 59
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano 60
ix
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B) 61
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3 62
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4 62
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments 64
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 3
ii
The members of the committee approve the treatise of Raymond Chenez defended on March 20
2011
_______________________________________
Wanda Brister Rachwal
Professor Directing Treatise
_______________________________________
Seth Beckman
University Representative
_______________________________________
Roy Delp
Committee Member
_______________________________________
Larry Gerber
Committee Member
_______________________________________
David Okerlund
Committee Member
The Graduate School has verified and approved the above-named committee members
iii
ACKNOWLEDGEMENTS
I would like to thank all the individuals who made this treatise possible To the
countertenors who participated Dan Bubeck Anthony Roth Costanzo Todd Doering Brennan
Hall Michael Kapinus Nathan Medley Reginald Mobley Andrew Rader Steven Rickards
Peter Thoreson and Jay White Thank you for your willingness in lending your voices to this
project I would especially like to thank Steven Rickards for his generous hospitality and help in
arranging the assistance from many of the above-mentioned singers
To Donald Miller I extend my thanks for your assistance during this process Without
your research this treatise would not have been possible
To David Okerlund thank you for your commitment to this project I enjoyed all the
time spent analyzing VoceVista signals and discussing the voice I truly appreciate your efforts
and assistance
To my voice teachers Wanda Brister Rachwal and Roy Delp I would like to thank you
for everything you have given me over the past five years You have gone above and beyond
your duties as voice teachers and have made a lasting impact on my life
iv
TABLE OF CONTENTS
List of Figures v
Abstract x
INTRODUCTION 1
METHOD 6
UPPER REGISTER 19
MIDDLE REGISTERS 31
CHEST REGISTER 42
CONCLUSIONS 63
GLOSSARY 65
APPENDICES 69
A HUMAN SUBJECTS COMMITTEE APPROVAL LETTER 69
B INFORMED CONSENT LETTER 71
BIBLIOGRAPHY 73
BIOGRAPHICAL SKETCH 75
v
LIST OF FIGURES
Figure 11 Manuel Garcia IIlsquos table of registers 3
Figure 12 Peter Gileslsquo system of registration 4
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone 7
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown 8
Figure 23 Spectrogram extracted from Figure 22 9
Figure 24 Power spectrum extracted from Figure 22 10
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown 12
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25 13
Figure 27 Audio waveform extracted from Figure 25 14
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract 15
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B) 16
Figure 210 First and second formant frequency ranges of eight vowels during speech 17
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B) 19
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1 20
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2 21
vi
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 22
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 22
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 24
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 24
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B) 26
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B) 28
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B) 29
Figure 311 EGG waveform indicating an unstable larynx 30
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2 32
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3 32
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2 34
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3 34
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H3 35
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 36
vii
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H2 37
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3 38
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B) 39
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B) 40
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B) 41
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B) 43
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 44
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 45
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B) 46
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3 47
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4 47
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B) 48
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H3 49
viii
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H4 50
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B) 51
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B) 52
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B) 52
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B 53
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B 54
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H3 55
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H4 55
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3 56
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4 57
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 58
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 58
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B) 59
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano 60
ix
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B) 61
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3 62
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4 62
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments 64
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 4
iii
ACKNOWLEDGEMENTS
I would like to thank all the individuals who made this treatise possible To the
countertenors who participated Dan Bubeck Anthony Roth Costanzo Todd Doering Brennan
Hall Michael Kapinus Nathan Medley Reginald Mobley Andrew Rader Steven Rickards
Peter Thoreson and Jay White Thank you for your willingness in lending your voices to this
project I would especially like to thank Steven Rickards for his generous hospitality and help in
arranging the assistance from many of the above-mentioned singers
To Donald Miller I extend my thanks for your assistance during this process Without
your research this treatise would not have been possible
To David Okerlund thank you for your commitment to this project I enjoyed all the
time spent analyzing VoceVista signals and discussing the voice I truly appreciate your efforts
and assistance
To my voice teachers Wanda Brister Rachwal and Roy Delp I would like to thank you
for everything you have given me over the past five years You have gone above and beyond
your duties as voice teachers and have made a lasting impact on my life
iv
TABLE OF CONTENTS
List of Figures v
Abstract x
INTRODUCTION 1
METHOD 6
UPPER REGISTER 19
MIDDLE REGISTERS 31
CHEST REGISTER 42
CONCLUSIONS 63
GLOSSARY 65
APPENDICES 69
A HUMAN SUBJECTS COMMITTEE APPROVAL LETTER 69
B INFORMED CONSENT LETTER 71
BIBLIOGRAPHY 73
BIOGRAPHICAL SKETCH 75
v
LIST OF FIGURES
Figure 11 Manuel Garcia IIlsquos table of registers 3
Figure 12 Peter Gileslsquo system of registration 4
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone 7
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown 8
Figure 23 Spectrogram extracted from Figure 22 9
Figure 24 Power spectrum extracted from Figure 22 10
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown 12
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25 13
Figure 27 Audio waveform extracted from Figure 25 14
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract 15
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B) 16
Figure 210 First and second formant frequency ranges of eight vowels during speech 17
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B) 19
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1 20
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2 21
vi
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 22
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 22
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 24
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 24
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B) 26
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B) 28
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B) 29
Figure 311 EGG waveform indicating an unstable larynx 30
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2 32
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3 32
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2 34
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3 34
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H3 35
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 36
vii
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H2 37
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3 38
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B) 39
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B) 40
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B) 41
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B) 43
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 44
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 45
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B) 46
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3 47
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4 47
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B) 48
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H3 49
viii
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H4 50
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B) 51
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B) 52
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B) 52
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B 53
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B 54
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H3 55
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H4 55
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3 56
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4 57
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 58
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 58
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B) 59
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano 60
ix
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B) 61
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3 62
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4 62
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments 64
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 5
iv
TABLE OF CONTENTS
List of Figures v
Abstract x
INTRODUCTION 1
METHOD 6
UPPER REGISTER 19
MIDDLE REGISTERS 31
CHEST REGISTER 42
CONCLUSIONS 63
GLOSSARY 65
APPENDICES 69
A HUMAN SUBJECTS COMMITTEE APPROVAL LETTER 69
B INFORMED CONSENT LETTER 71
BIBLIOGRAPHY 73
BIOGRAPHICAL SKETCH 75
v
LIST OF FIGURES
Figure 11 Manuel Garcia IIlsquos table of registers 3
Figure 12 Peter Gileslsquo system of registration 4
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone 7
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown 8
Figure 23 Spectrogram extracted from Figure 22 9
Figure 24 Power spectrum extracted from Figure 22 10
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown 12
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25 13
Figure 27 Audio waveform extracted from Figure 25 14
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract 15
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B) 16
Figure 210 First and second formant frequency ranges of eight vowels during speech 17
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B) 19
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1 20
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2 21
vi
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 22
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 22
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 24
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 24
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B) 26
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B) 28
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B) 29
Figure 311 EGG waveform indicating an unstable larynx 30
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2 32
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3 32
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2 34
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3 34
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H3 35
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 36
vii
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H2 37
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3 38
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B) 39
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B) 40
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B) 41
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B) 43
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 44
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 45
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B) 46
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3 47
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4 47
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B) 48
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H3 49
viii
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H4 50
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B) 51
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B) 52
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B) 52
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B 53
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B 54
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H3 55
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H4 55
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3 56
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4 57
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 58
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 58
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B) 59
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano 60
ix
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B) 61
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3 62
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4 62
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments 64
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 6
v
LIST OF FIGURES
Figure 11 Manuel Garcia IIlsquos table of registers 3
Figure 12 Peter Gileslsquo system of registration 4
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone 7
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown 8
Figure 23 Spectrogram extracted from Figure 22 9
Figure 24 Power spectrum extracted from Figure 22 10
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown 12
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25 13
Figure 27 Audio waveform extracted from Figure 25 14
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract 15
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B) 16
Figure 210 First and second formant frequency ranges of eight vowels during speech 17
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B) 19
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1 20
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2 21
vi
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 22
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 22
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 24
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 24
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B) 26
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B) 28
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B) 29
Figure 311 EGG waveform indicating an unstable larynx 30
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2 32
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3 32
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2 34
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3 34
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H3 35
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 36
vii
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H2 37
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3 38
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B) 39
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B) 40
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B) 41
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B) 43
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 44
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 45
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B) 46
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3 47
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4 47
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B) 48
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H3 49
viii
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H4 50
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B) 51
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B) 52
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B) 52
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B 53
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B 54
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H3 55
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H4 55
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3 56
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4 57
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 58
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 58
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B) 59
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano 60
ix
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B) 61
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3 62
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4 62
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments 64
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 7
vi
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 22
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 22
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1 24
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2 24
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B) 26
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B) 28
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B) 29
Figure 311 EGG waveform indicating an unstable larynx 30
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2 32
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3 32
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2 34
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3 34
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H3 35
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 36
vii
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H2 37
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3 38
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B) 39
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B) 40
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B) 41
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B) 43
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 44
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 45
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B) 46
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3 47
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4 47
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B) 48
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H3 49
viii
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H4 50
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B) 51
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B) 52
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B) 52
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B 53
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B 54
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H3 55
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H4 55
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3 56
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4 57
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 58
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 58
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B) 59
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano 60
ix
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B) 61
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3 62
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4 62
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments 64
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 8
vii
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H2 37
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3 38
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B) 39
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B) 40
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B) 41
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B) 43
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 44
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 45
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B) 46
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3 47
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4 47
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B) 48
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H3 49
viii
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H4 50
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B) 51
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B) 52
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B) 52
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B 53
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B 54
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H3 55
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H4 55
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3 56
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4 57
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 58
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 58
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B) 59
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano 60
ix
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B) 61
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3 62
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4 62
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments 64
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 9
viii
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on H4 50
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B) 51
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B) 52
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B) 52
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B 53
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B 54
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H3 55
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on H4 55
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3 56
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4 57
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3 58
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4 58
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B) 59
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano 60
ix
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B) 61
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3 62
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4 62
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments 64
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 10
ix
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B) 61
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3 62
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4 62
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments 64
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 11
x
ABSTRACT
Todaylsquos countertenors possess vocal ranges similar to the mezzo-soprano and are trained
to sing with a vibrant focused tone Little research has been conducted on the registers of the
countertenor voice Advancement in vocal techniques in the countertenor voice from the late
20th
century to the present has been rapid This treatise attempts to define the registers of the
countertenor voice and is intended as a resource for singers and teachers The voices of eleven
North American countertenors were recorded and analyzed using VoceVista Pro software which
was developed and designed by Donald Miller Through spectrographic and electroglottographic
analysis the registers of the countertenor voice were identified and outlined
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 12
1
CHAPTER ONE
INTRODUCTION
Questions often arise with regard to registers and where they fall in the countertenor
voice The most prominent vocal pedagogy books devote little attention to the countertenor
including Richard Millerlsquos The Structure of Singing William Vennardlsquos Singing The
Mechanism and the Technic and James McKinneylsquos The Diagnosis and Correction of Vocal
Faults In most books on pedagogy there is no mention of the voice type or only a brief
paragraph is provided
Although the use of terminology has evolved the first significant description of registers
for the countertenor voice was written in 1841 by Manuel Garcia II in A Complete Treatise on
The Art of Singing He describes the countertenor voice as follows
Counter-Tenor Voice The highest voice of the man This clear and nimble voice
whose range is the same as that of the contralto voice and is composed of the same
cords extends from
In this voice the chest register blends very well with the falsetto register but although
more thin and more effeminate than all the other masculine voices it blends poorly with
the head register which is exclusively reserved for the woman1
Garcialsquos table of registration is shown in Figure 11 In observing his classifications for
female voices he has placed the ―falsetto register in the middle of the range It is evident his
usage of the term had different implications when he wrote the treatise than it does now In 1894
he revised his terminology to chest medium (falsetto for male voice) and head2
In observing his register system for the countertenor voice Garcia has placed it as the
highest male voice capable of ascending past the tenor in the chest voice to Bb4 with a possible
1 Manuel Garcia II A Complete Treatise on the Art of Singing Part One (New York Da Capo Press
1984) 21
2 Clifton Ware Basics of Vocal Pedagogy The Foundations and Process of Singing (McGraw-Hill 1998)
114
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 13
2
extension to C5 In comparing the tenor to the countertenor the ranges are identical in the
falsetto register In the head register the countertenor is given a possible extension to F5
Garcia evidently believed in a three-register system for the countertenor with different
options for employing chest and falsetto in the same range In comparing this model with his
tenor model it seems as if these voices were similar in function
The voice of the present-day countertenor functions differently from the way it was
described by Garcia While the countertenor employs the chest register as part of the overall
range he uses it only for the lowest tones The contemporary countertenor would not extend his
chest voice nearly as high as C5
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 14
3
3 Garcia 21-22
Figure 11 Manuel Garcia IIlsquos table of registers3
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 15
4
4 Giles 176
Figure 12 Peter Gileslsquo system of registration4
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 16
5
In 1994 the most recent system of registration in the countertenor voice was devised by
Peter Giles Figure 12 compares the countertenor voice with other male and female voice-types
In observing his countertenor model Giles shows a wide range of register possibilities for the
voice
Registration in the singing voice is a widely-debated subject Among singing teachers a
wide range of terminology and concepts still exist While pedagogues have devised systems and
written numerous documents and books on registration for many voice types the registers of the
countertenor voice have been addressed minimally
Donald Miller through recent technical advances has provided a means to analyze the
voice Dr Miller began his career as an opera singer and voice teacher He has sung over 25
leading roles and was a professor of voice at Syracuse University for over two decades In the
late 1970s he turned his focus toward voice science In 1987 he devoted himself to research on
the acoustics and physiology of the singing voice as an associate of the Groningen Voice
Research Lab in the Netherlands Dr Miller is responsible for the design and development of
VoceVista software first introduced in 19965
One of the main benefits of VoceVista has been the ability to identify register transitions
and the elements that are involved in these transitions The purpose of this treatise is to develop
a further understanding of registration in the countertenor voice with the use of VoceVista
5 Donald Miller Resonance in Singing Voice Building through Acoustic Feedback (Princeton NJ Inside
View Press 2008) back cover
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 17
6
CHAPTER TWO
METHOD
Eleven North American countertenors were recorded and analyzed using VoceVista-Pro
software (version 33)6 The age of the participants ranged from 23 to 55 years Because of this
range in age the experience of the singers varied At minimum all of the participants held a
bachelorlsquos degree in music All of the participants had professional performing experience
Each singer was asked to sing a standard set of vocalises encompassing nearly the
entirety of his vocal range The lowest recorded pitch was G3 This starting point was chosen to
identify the transition coming from the chest voice to the head voice Because the modal (chest)
voice has been researched and studied at length pitches below G3 were not recorded The
highest recorded pitch was C6 which only one of the eleven countertenors was capable of
producing Due to differences in vocal range each singer did not perform every vocalise
Each participant was instructed to warm up prior to the recording During the process
they were given the freedom to play their own pitches from a piano before each vocalise they
were instructed to sing No accompaniment was provided while they vocalized Because the
purpose of this study was to analyze the best examples possible each singer was given the
opportunity to record an exercise as many times as necessary to exemplify his best singing
Two signals were obtained in the process an audio signal and an electroglottograph
(EGG) waveform The equipment used to record these signals included a Dell Inspiron 1470
laptop Tascam USB audio interface an EGG module EGG neck-strap and a headset
microphone A photograph of this equipment is shown in Figure 21
6 VoceVista-Pro is voice analysis software designed and developed by Donald Miller
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 18
7
All of the signals were recorded using the laptop computer while running VoceVista-Pro
software (v 33) The EGG module was used to process the EGG and audio signal The
electrodes used to transmit the EGG signal were positioned on either side of each participantlsquos
larynx with a Velcro strap
A headset microphone was used in order to maintain a consistent distance between the
singerlsquos mouth and the microphone The headset microphone is an omnidirectional electret
microphone with a flat response in the frequency range of interest (ca 70 to 8000 Hz) The EGG
module was inserted into the Tascam interface which connected to the computerlsquos USB port
and allowed for volume control over the audio and EGG signals All of the signals were initially
recorded at a low level to prevent overloading and were later normalized to 85 with Adobereg
Auditionreg to create a consistent standard for analysis
The audio signal obtained through the microphone provided a spectrogram and power
spectrum in VoceVista Figure 22 shows an example of a spectrogram a power spectrum and a
waveform envelope This figure shows a D major scale sung on an [a] vowel by countertenor
Anthony Roth Costanzo
Figure 21 Author shown wearing EGG module EGG neck-strap and headset microphone
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 19
8
The spectrogram is extracted from Figure 22 and shown in Figure 23 In this example a
D major scale is displayed Donald Miller describes the spectrogram as reading like music ―from
left to right in the time dimension7 In this example a green vertical cursor is placed on A4 of
the scale In the lower right a time marker of 2507 milliseconds (ms) is displayed This
indicates the exact moment of the sound sample in which the green cursor is placed Miller
describes the vertical dimension of the spectrograph as follows
The vertical dimension shows frequency In the usual narrow-band display the
fundamental frequency designated F0 is the lowest band The bands above it
represent overtones which are all integer multiples of the fundamental For
example if the fundamental is 220 hertz (Hz or cycles per second) the series of
overtones is 440 660 880 etc These are all harmonics which follow the
pattern of the well-known harmonic series The fundamental is designated H1
H2 is an octave higher H3 a perfect fifth above that etc8
7 Miller 7-8
8 Ibid 7-8
Figure 22 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo displayed in
VoceVista View of spectrogram power spectrum and waveform envelope shown
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 20
9
The term ―fundamental frequency that Dr Miller refers to is the pitch the human ear
actually hears For purposes of this treatise the fundamental frequency will be referred to as
―H1 (Harmonic 1) F0 can also be used as a label but will not be used in this document In
Figure 23 the fundamental frequency is shown as the lowest horizontal band Above it are
overtones which are labeled H2 H3 H4 etc The colors shown in the spectrogram represent
levels of intensity (amplitude)9
On the right side of Figure 22 is the power spectrum which is displayed separately in
Figure 24 Miller describes the power spectrum as follows ―The power spectrum has just two
dimensions frequency and amplitude displayed in the horizontal and vertical dimensions
9 Ibid 7-8
Figure 23 Spectrogram extracted from Figure 22
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 21
10
respectively It is best understood as a very narrow time-slice through a spectrogram10
The
power spectrum (Figure 24) represents the exact moment in time in which the cursor is placed in
the spectrogram (Figure 23) The harmonics from the spectrogram (Figure 23) are displayed
from left to right in the power spectrum (Figure 24) Miller describes this display as showing
―the series of harmonics with a precise gradation of amplitude in decibels One can thus see
which frequency components are dominant at any given moment and by how many decibels
they prevail over other components 11
10 Ibid 8-9
11
Ibid 8-9
Figure 24 Power spectrum extracted from Figure 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 22
11
Throughout this document a long time average spectrum (LTAS) will be used which
Miller describes as follows
In addition to the narrow time-slice the program can calculate a long time
average spectrum (LTAS) for segments up to 10 seconds By setting the
averaging time at 200 ms (milliseconds) the display of sound in real time will
average approximately one complete vibrato cycle (based on a vibrato rate of 5
Hz) giving a more realistic impression of the balance of frequency components
that the ear is hearing in real time12
The other signal analyzed in this treatise is the electroglottograph waveform (EGG)
which is described by Miller as follows
The EGG is the second of the two non-invasive signals processed by VoceVista
It is a physiological signal allowing us to follow the vibrations of the vocal folds
that produce the primary sound at the glottis A minute high-frequency current
runs between electrodes that are held in place on either side of the larynx The
resistance between electrodes decreases by a small amount when the vocal folds
make contact initiating the closed phase of the glottis The resistance rises again
as the glottis opens These modulations in resistance give us the EGG signal
useful as a measure of contact between the vocal folds13
12
Ibid 8-9
13
Ibid 9
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 23
12
Figure 25 is a different display of VoceVista which shows a G major scale sung on an
[a] vowel by countertenor Steven Rickards This figure shows a spectrogram electroglottograph
waveform (EGG) closed quotient history (labeled EGG CQ) and audio waveform
The electroglottograph waveform (EGG) is extracted from Figure 25 and shown in
Figure 26 This signal can be used to calculate closed quotient (CQ) which is described by
Miller as ―the percentage of the glottal period where the glottis is (presumably) closed to the
passage of air14
Three vertical cursors are displayed in this window The first vertical cursor is
placed at the estimated moment in which the glottis closes and the middle cursor is placed at the
estimated moment in which the glottis opens The horizontal cursor is adjusted by the user to
align these vertical cursors and is referred to as the criterion level (CL)15
This process of
adjustment is aided by the audio waveform which will be described later In this example the
horizontal cursor is placed at the estimated moment of glottal opening (CL=26) and the closed
quotient (CQ) is measured at 44
14
Ibid 9
15
Ibid 9
Figure 25 Octave scale from G4 to G5 on [a] by Steven Rickards displayed in VoceVista View
of spectrogram electroglottograph waveform (EGG) closed quotient history (EGG CQ) and
audio waveform shown
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 24
13
Above the EGG signal in Figure 25 is the audio waveform which shows the microphone
signal This is the same signal that provides the spectrogram and power spectrum The audio
waveform is extracted from Figure 25 and shown in Figure 27 This signal is useful in aligning
the EGG signal directly below it as shown in Figure 25 Miller describes this process as
follows
Care must be taken to precisely align the EGG and audio signals in the time
domain Each closing of the glottis creates an impulse that acoustically excites
the vocal tract There is a time delay between this closure which is registered
immediately by the EGG and the moment of arrival at the microphone of the
corresponding acoustic impulse At the relatively low frequencies and intensities
of speech the sound tends to die out between glottal impulses making these easy
to identify in the audio waveform particularly if the microphone is close to the
speakerlsquos mouth In the case of a head-mounted microphone the distance the
sound travels is kept constant and thus the delay as well
Having the audio and EGG waveforms aligned enables one to see the
effects of the sound created by glottal closing and opening as well as by different
magnitudes of closed quotient It also makes clearer the difference between low-
intensity speech where the sound tends to die out in the open phase and resonant
singing characterized by standing waves that maintain their energy through the
open phase and into the next closing16
16
Ibid 10-11
Figure 26 Electroglottograph waveform (EGG) extracted from Figure 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 25
14
The signals described above were used to determine where the register transitions
occurred in the countertenor voice and the characteristics that defined these transitions These
determinations were made by studying adjustments in CQ and changes in the relative strength of
the harmonics displayed in the spectrogram and power spectrum
Changes in the CQ are measured through analysis of the EGG signal An increase or
decrease in the CQ indicates an adjustment being made by the singer at the voice source (the
vocal folds) consciously or subconsciously Changes displayed in the spectrogram reflect the
adjustments made in the vocal tract after the harmonics have emerged from the glottis
Within the vocal tract are naturally occurring formants which are variable resonances of
the vocal tract17
When considering the source spectrum of a sound before it is filtered by the
vocal tract the amplitude of the harmonics theoretically decreases uniformly with increasing
frequency18
In other words Miller is theorizing that Figure 28 represents the overtone series
emitted by the vocal folds prior to the filtering performed by the vocal tract
17
Ibid 113
18
Ibid 24-25
Figure 27 Audio waveform extracted from Figure 25
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 26
15
Through adjustments in the vocal tract the formants can be tuned to the harmonics
emerging from the glottis which create distinctive peaks in the spectrogram20
Miller explains the importance of the first two formants as follows
When we speak of formant tuning in the singing voice we are nearly always
talking about one or both of the two lowest formants F1 and F2 There are two
evident reasons for this The first is that these two formants are in the frequency
region where the harmonics emerging from the glottal source are strong
resonating a harmonic that is intrinsically strong will have a relatively large effect
on the sound pressure levelhellipThe second reason is that our vocal tracts are well
equipped to make rapid changes both large and subtle in the first two formants21
Through glottal fry a visual representation of the formant frequencies of a singer can be
obtained Figure 29 shows the power spectrum of an A4 sung by a soprano on an [i] vowel
The formant structure is shown in the lower portion which was produced by a glottal fry The
19
Ibid figure 43
20
Ibid 24-25
21
Ibid 24-25
Figure 28 Theoretical drawing of the overtone series emitted by the vocal folds prior to
filtering by the vocal tract19
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 27
16
upper portion shows the sung pitch When aligning the two images it is evident how the
formants amplify the harmonics to which they are tuned22
The first formant (F1) is affiliated with the back cavity and the second formant (F2) is
affiliated with the front24
Miller lists three general rules regarding the adjustments of these two
formants
Lip rounding lowers all formant frequencies but especially F2 lip spreading has the opposite effect
Larynx lowering lowers all formant frequencies but especially F1 larynx raising has the opposite effect
22
Ibid 23
23
Ibid figure 41
24
Ibid 29
Figure 29 Power spectra of A4 sung by a soprano on an [i] vowel (signal A) and vocal fry
(signal B)23
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 28
17
Moving the tongue constriction forward raises F2 and lowers F1 moving it backward has the opposite effect
25
By adjusting the formant frequencies with the articulators vowels are shaped Figure
210 shows a vowel diagram which displays the first and second formant frequency ranges of
eight vowels during speech The open and closed dimension of a vowel is dependent on the first
formant while the front and back dimension is dependent on the second formant The variance
for each vowel accounts for different individuals whose vocal tracts are different sizes
Generally children have the smallest vocal tracts and therefore the highest formant frequencies
Adult men typically have the largest vocal tracts and the lowest formant frequencies26
25
Ibid 31
26
Ibid 26-28
27
Ibid figure 44
Figure 210 First and second formant frequency ranges of eight vowels during speech27
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 29
18
For the purpose of this treatise I have chosen to focus on the [a] vowel The work of Dr
Miller shows how this vowel can be used successfully to identify register transitions in the voice
due to the close proximity of the first two formants (F1 and F2) The [a] vowel has been the
primary focus of Dr Millerlsquos research regarding the registers of the voice As a result the data
collected in this treatise can be compared to his research and cross-referenced with his findings
in the female voice For these reasons analyzing vocalises on [a] was the most useful means of
researching the registers of the countertenor voice
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 30
19
CHAPTER THREE
UPPER REGISTER
To date the analysis of the upper register of the countertenor voice has remained largely
unexplored Like female singers countertenors also make an upper register transition Through
the examination of the power spectrum and the EGG waveform of an E Major scale beginning on
E4 on an [a] vowel it is possible to identify this transition
Figure 31 shows an E major scale sung on an [a] vowel by countertenor Andrew Rader
In signal A the cursor is placed on C5 and in signal B the cursor is placed on D
5 In the case
of both EGG waveform signals a manual CQ measurement was taken by placing the orange
cursor at the beginning of the closed phase The CQ was then calculated by dividing the Interval
(length of time the vocal folds are presumably in the closed phase) by the Period (length of the
glottal cycle) (128184=70 and 122163=75) The increase of 5 in the CQ also
Figure 31 Octave scale from E4 to E5 on [a] by Andrew Rader EGG waveforms are shown of
C5 (A) and D
5 (B)
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 31
20
corresponds with a shift in harmonic dominance from H2 to H1 shown in the power spectrum of
Figure 32 and 33 at the same 6172 and 6528 ms marks
Figure 32 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H1
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 32
21
The cursor is placed on H1 in Figure 32 and on H2 in Figure 33 In both figures the
C5 is shown in signal A and the D
5 is shown in signal B In examining the C
5 at the 6172 ms
mark H2 is -9 dB and H1 is -18 dB This means that H2 is dominant over H1 by 9 dB This
harmonic dominance changes on the D5 when H1 becomes dominant over H2 by 4 dB
Because the strength of the harmonics fluctuates with vibrato a long time average spectrum
(LTAS) was also used
Figure 33 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
D5 (B) with cursors placed on H2
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 33
22
Figure 34 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 35 Octave scale from E4 to E5 on [a] by Andrew Rader Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 34
23
Figures 34 and 35 show the same E Major scale sung by Andrew Rader displayed using
an LTAS of 300 ms with measurements taken at C5 and E5 Using the LTAS H2 is dominant
over H1 on C5 by 4 dB and H1 is dominant over H2 by 13 dB on E5 This creates a variance of
17 dB between H1 and H2 from C5 to E5 The change from H1 to H2 dominance shows a
change in resonance strategy from F2H2 to F1H1 which indicates a register transition
In this particular example the register transition taking place is comparable to the
transition in the female voice by which the singer tunes F2 to H2 in the middle register and then
tunes F1 to H1 as she moves into the upper register28
The examples primarily observed in
Resonance in Singing reference the soprano voice in which this transition does not take place
until F5 with E5 being a transitional note in which H1 and H2 are relatively equal29
The
transition was observed at a lower pitch in the countertenor voice
The majority of the participants did not maintain a dominant H2 through the middle
register like Andrew Rader Instead they maintained a slightly dominant H1 The upper register
transition is still visible however through the sudden change in amplitude between H1 and H2
An example of this possibility is shown in Figures 36 and 37 which use an LTAS of 300 ms
28
Ibid 70-72
29
Ibid 70-71
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 35
24
Figure 36 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H1
Figure 37 Octave scale from E4 to E5 on [a] by Dan Bubeck Power spectra show C5 (A) and
E5 (B) with cursors placed on H2
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 36
25
Figures 36 and 37 show an E Major scale sung on an [a] vowel by Dan Bubeck On C5
H1 is dominant over H2 by 5 dB While H1 remains dominant on E5 it is dominant over H2 by
a large difference of 17 dB In this example there is a change in amplitude of 12 dB between H1
and H2 when comparing C5 and E5 This change in amplitude is an indication that the transition
to the upper register has taken place
A comparable example to Danlsquos scale is shown in Resonance in Singing in which a
mezzo-soprano also has a slightly dominant H1 in the middle register Miller states that this is a
result of darkening the vowel which lowers F1 and F2 30
However the formant frequencies found in natural speech differ in male and female
voices The formants are typically lower in the male voice and higher in the female voice This
is the result of differences in vocal tract size 31
It is possible that a larger vocal tract in some
countertenors may make it difficult to tune F2 to H2 resulting in a darker quality
Like Andrew Dan also had an increase in CQ when transitioning from C5 to D
5 which
is shown in Figure 38 This is further evidence that a register transition has taken place In
Danlsquos case the CQ increased from 37 (69188) on the C
5 to 51 (80158) on the D5 This
large change can also be observed in the CQ history shown above the spectrograph where there
is a sudden spike Though the CQ history does not show completely accurate measurements due
to a constant CL it can provide a worthwhile overview of an entire passage
30
Ibid 74
31
Ibid 26-27
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 37
26
The increase in CQ at the transition into the upper register is a phenomenon which is not
present in the female voice Donald Miller maintains that in the female voice this transition is
primarily related to adjustments in resonance rather than an adjustment at the voice source32
In
the countertenor voice both adjustments appear to be paramount to the negotiation of this
register transition
In the case of ten of the eleven participants there was a noticeable shift toward clear F1
dominance after ascending past C5 While the majority of the participants maintained a slightly
dominant H1 through the middle voice there was a significant change in amplitude between H1
and H2 from C5 to E5
One participant however decreased the amplitude between H1 and H2 from C5 to E5
which did not align with the results from the other singers A similar example is shown in
Resonance in Singing when a soprano continues to maintain the F2H2 strategy to A5 Miller
32
Ibid 73
Figure 38 Octave scale from E4 to E5 on [a] by Dan Bubeck EGG waveforms are shown of C5
(A) and D5 (B)
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 38
27
refers to this as a ―register violation33
As a result the data from this singer has not been
included in the following calculations
The difference in amplitude between H1 and H2 from C5 to E5 was measured in each
singer through the use of an LTAS of 300ms These changes in amplitude ranged from 7 to 23
dB The average was 141 dB among the 10 countertenors included in this calculation While
the majority of the participants did not maintain a complete F2H2 resonance strategy in the
middle register the movement toward a strong F1H1 strategy indicates a resonance adjustment
The evidence of a change in CQ and a shift to a dominant F1H1 resonance strategy
provides strong evidence of an upper register transition taking place in the countertenor voice
after C5 In the case of all the participants the middle register to upper register transition was
complete by E5 This area of transition seems to coincide with the mezzo-soprano voice
The majority of the participants in this study had an upper range that extended to G5 at
the top Observations showed that the CQ remained steady following the transition into the
upper register Figure 39 shows an ascending fifth from C5 to G5 sung on an [a] vowel by
Anthony Roth Costanzo In this example a manual measurement of the EGG waveform was
taken on E5 (signal A) and G5 (signal B) The measurement revealed a consistent CQ of 42
(65153) and 43 (57132) respectively
33
Ibid 72-73
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 39
28
One participant had a rare range that extended to C6 Figure 310 shows an ascending
fifth from F5 to C6 sung on an [a] vowel by Todd Doering In this example the CQ remains at a
consistent level with a measurement of 48 on G5 (signal A) and 51 (54105) on B5 (signal
B) The consistency of the CQ in the upper limits of the countertenor voice represented in Figure
38 and Figure 39 provide further justification of a registration event taking place between C
5
and E5 when there is an observable increase in CQ
Figure 39 Ascending 5th
from C5 to G5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of E5 (A) and G5 (B)
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 40
29
Evidence from this study suggests that most countertenors have a top note of G5 Some
rare voices extend to C6 and possibly higher It was observed that as the participants reached the
limits of their range they began to lose laryngeal stability An example of this is shown in
Figure 311 where movement in the EGG waveform signal provides an indication of an unstable
larynx as the singer reaches the top of his range
Figure 310 Ascending 5th
from F5 to C6 on [a] by Todd Doering EGG waveforms are shown of
G5 (A) and B5 (B)
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 41
30
Figure 311 EGG waveform indicating an unstable larynx
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 42
31
CHAPTER FOUR
MIDDLE REGISTERS
When considering the range of most countertenor repertoire the majority of singing
takes place in the middle registers Through the examination of the power spectrum and the
EGG waveform of a D major scale beginning on D4 on an [a] vowel it is possible to identify the
middle register transitions in the countertenor voice
Figures 41 and 42 show a D major scale beginning on D4 sung on an [a] vowel by
countertenor Andrew Rader The cursor is placed on H2 in Figure 41 and on H3 in Figure 42
In both figures G4 is displayed in signal A and A4 is displayed in signal B Utilizing an LTAS
of 300ms a harmonic shift is clearly displayed between the two pitches
Figure 41 shows an increase in H2 from -16dB to -14dB as Andrew ascends from G4 to
A4 While this is a small increase Figure 42 shows how H3 dramatically decreases from -24dB
to -38dB Between the two harmonics there is an overall change of 16 dB when moving
between the two pitches The change in amplitude between H2 and H3 is a clear indication that
H3 has moved out of the range of the second formant
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 43
32
Figure 41 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H2
Figure 42 Octave scale from D4 to D5 on [a] by Andrew Rader Power spectra show G4 (A) and
A4 (B) with cursors placed on H3
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 44
33
In eight of the eleven the participants the transition from the lower-middle to the upper-
middle register took place between G4 and A4 The change in amplitude between H2 and H3
from G4 to A4 was measured in each of the 8 singers through the use of an LTAS of 300 ms
These changes ranged between 5 dB and 29 dB The average was 159 dB among the 8
countertenors included in this calculation The dramatic drop in the strength of H3 indicates a
necessary resonance adjustment in this area of the voice
In three of the participants however the transition was slightly lower and was observed
between F4 and G4 An example is shown in Figures 43 and 44 which show a D major scale
beginning on D4 sung on an [a] vowel by countertenor Brennan Hall The cursor is placed on H2
in Figure 43 and on H3 in Figure 44 In both figures F4 is displayed in signal A and G4 is
displayed in signal B Utilizing an LTAS of 300ms a harmonic shift is clearly displayed
between the two pitches
Figure 43 shows an increase in H2 from -27dB to -26dB as Brennan ascends from F4 to
G4 While this is a small increase Figure 42 shows how H3 decreases from -27dB to -42dB
Between the two harmonics there is an overall change of 15 dB when moving between the two
pitches The change in amplitude between H2 and H3 is a clear indication that H3 has moved
out of the range of the second formant
In the three singers who negotiated this resonance shift from F4 to G4 the change in
amplitude between H2 and H3 was measured through the use of an LTAS of 300 ms These
changes ranged between 12 dB and 16 dB The average was 137 dB among the 3 countertenors
included in this calculation The dramatic drop in the strength of H3 indicates a resonance
adjustment made by these three singers
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 45
34
Figure 43 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H2
Figure 44 Octave scale from D4 to D5 on [a] by Brennan Hall Power spectra show F4 (A) and
G4 (B) with cursors placed on H3
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 46
35
These examples present evidence that the countertenor makes a resonance adjustment as
he ascends from the lower middle register to the upper middle register In the female voice a
similar register transition takes place An example is shown in Figure 45 extracted from
Resonance in Singing This example is an excerpt from ―Ebbenhellipne andro lontano sung by
Maria Callas Signal A shows a D5 with the cursor placed on H2 Signal B shows a G4 with the
cursor placed on H3 The example shows a clearly dominant H3 on the G4 and a dominant H2
on D5 Between these two pitches the transition from the lower-middle to the upper middle
register has taken place
Another example from Resonance in Singing is shown in Figure 46 This example
compares two different recordings of ―Un bel di from Madama Butterfly Signal A displays an
Ab4 sung by Reacutegine Crespin and signal B shows the same pitch sung by Yoko Watanabe
Reacutegine Crespinlsquos sample shows a dominant H3 while Watanabelsquos shows a dominant H2 The
34
Ibid figure 114
Figure 45 Excerpt from ―Ebbenhellipne andro lontano sung by Maria Callas Power spectra are
shown of D5 (A) with cursor placed on H2 and G4 (B) with cursor placed on H334
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 47
36
two different resonance strategies employed by these singers provide evidence that the transition
from the lower-middle to upper-middle register takes place in this part of the female voice
While similar the harmonic characteristics of this transition are unique in the
countertenor voice Through the examples examined H3 is not shown to be dominant over H2
prior to the transition to the upper middle Instead H3 remains slightly subdominant to H2 until
H3 drops significantly in decibel level This may be a resonance characteristic unique to the
countertenor voice due to lower natural formant frequencies in the male vocal tract
One example however shows the possibility of H3 to be dominant over H2 in the lower
middle register Figures 47 and 48 show an A major scale beginning on A3 sung on an [a]
vowel by countertenor Andrew Rader The cursor is placed on H2 in Figure 47 and on H3 in
Figure 48 In both figures F4 is displayed in signal A and G
4 is displayed in signal B
Utilizing an LTAS of 300 ms a dominant H3 is clearly shown on F4 H2 becomes dominant on
35
Ibid figure 115
Figure 46 Excerpts from ―Un bel di sung by Reacutegine Crespin (A) and Yoko Watanabe (B)
Power spectra of Ab4 are shown with cursors placed on H3 (A) and H2 (B) 35
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 48
37
G4 In this instance the singer has maintained a dominant H3 when ascending on an octave
scale beginning on A3 This did not correlate with data from any of the other participants
Figure 47 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 49
38
In the majority of the participants there was also a rise in CQ associated with the shift
from the lower middle to the upper middle register An example is shown in Figure 49 which
shows a D major scale beginning on D4 sung on an [a] vowel by countertenor Andrew Rader In
signal A the cursor is placed on G4 and in signal B the cursor is placed on A5 In the case of
both EGG waveform signals a manual CQ measurement was taken by placing the orange cursor
at the beginning of the closed phase The CQ was then calculated by dividing the Interval by the
Period (159258=62 and 156230=68)
Figure 48 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show F4 (A)
and G4 (B) with cursors placed on H3
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 50
39
A gradual rise in CQ through the upper middle register was a trend found in the majority
of participants and typically began at the moment of resonance change or shortly after Figure
410 shows the same D major scale sung by Andrew Rader In this example the cursor is placed
on G4 in signal A and on D5 in signal B In the case of both EGG waveform signals a manual
CQ measurement was taken by placing the orange cursor at the beginning of the closed phase
The CQ was then calculated by dividing the Interval by the Period (157260=60 and
125174=72) This measurement shows the gradual rise in CQ encompassing pitches from
G4 to D5 While this trend was common among the participants this particular countertenor had
displayed an unusually high overall CQ throughout his range This high level of CQ was not
common among the participants
Figure 49 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and A4 (B)
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 51
40
Another example is displayed in Figure 411 which shows a D major scale beginning on
D4 sung on an [a] vowel by countertenor Anthony Roth Costanzo In this example the same rise
in CQ is shown as he ascends through the upper-middle register In signal A the cursor is placed
on G4 and on D5 in signal B Over the range of these two pitches the CQ increased from 36 to
45
Anthonylsquos overall CQ levels are representative of the majority of the countertenors who
took part in this study Generally the levels remained in the 30s in the lower-middle register and
increased into the 40s in the upper-middle register Andrewlsquos CQ levels were significantly
higher than all of the countertenors in this study
Figure 410 Octave scale from D4 to D5 on [a] by Andrew Rader EGG waveforms are shown of
G4 (A) and D4 (B)
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 52
41
Figure 411 Octave scale from D4 to D5 on [a] by Anthony Roth Costanzo EGG waveforms are
shown of G4 (A) and D4 (B)
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 53
42
CHAPTER FIVE
CHEST REGISTER
Negotiating the transition from the chest voice source to the head voice source is one of
the greatest technical challenges a singer faces Donald Miller refers to this transition as the
primary register transition (PRT) which is also known as the primo passaggio36
He describes
this transition in the female voice and the difficulty in the male voice as follows
The one place on our map of the singing voice where the chasm dividing the
natural registers confronts us directly is in the lower portion of the (classical)
female singing range In the unschooled voice the primary register transition
(PRT) tends to occur within the same pitch range in both male and female voices
the range where F1 of an open vowel encounters difficulty in reaching as high as
the second harmonic The classical solution for the male voice as we have seen
is to maintain the lsquochestrsquo voice source but avoid the register violation by
sacrificing F1H2 resonance and embracing a different resonance strategy for the
relatively short upper extension
The full pitch range of the female voice is distributed quite differently
around the primary register transition The greater part of the total range can be
accessed with the lsquoheadrsquo voice source making that the default mode so to speak
and giving the chestlsquo mode as the exception the task of adaptation A further
reason why womenlsquos voices generally work both sides of the PRT is that the gap
that separates the natural registers is in general less prominent in the female voice
than the male37
Finally the fact that the transition occurs relatively low in the
range means that lower subglottal pressure and loudness make the register
transition less obtrusive than a comparable male transition in the same F0 range
In fact most classical women singers keep the transition intentionally low in the
range even lower than the male passaggio point in spite of the fact that the
marginally higher formant frequencies of the female vocal tract are more
accommodating to upward adjustment of the PRT38
The data collected in this study revealed that the participants managed this difficult
transition in different ways Due to these variances it was most beneficial to study several
36
Ibid 88
37
DG Miller JG Švec and HK Schutte ―Measurement of Characteristic Leap Interval Between Chest
and Falsetto Registers Journal of Voice 16 (2002) 8-19
38
Miller 88
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 54
43
different countertenors individually and provide a comprehensive analysis on their individual
methods of negotiating this transition
Figure 51 shows an ascending A major scale beginning on A3 sung on an [a] vowel by
countertenor Steven Rickards In signal A the cursor is placed on D4 and in signal B the cursor
is placed on E4 In the case of both EGG waveform signals a manual CQ measurement was
taken by placing the orange cursor at the beginning of the closed phase The CQ was then
calculated by dividing the Interval by the Period (150351=43 and 104307=34) The
change in CQ by 9 represents the moment in which Steven has transitioned from the chest
register to the lower-middle register
Figures 52 and 53 show a power spectrum of the same A major scale sung by Steven
Rickards displayed using an LTAS of 300 ms with measurements taken at D4 and E4 A
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on D4 by 16 dB and H3 is dominant over H4 by 46 dB on E4 This measurement
reveals a change in amplitude of 30 dB between H3 and H4 from D4 to E4 This change in
Figure 51 Octave scale from A3 to A4 on [a] by Steven Rickards EGG Waveforms are shown
of D4 (A) and E4 (B)
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 55
44
amplitude indicates that F2 has moved away from H4 toward H3 creating a resonance change
In this particular singer the resonance change occurs at the same moment in which the CQ
declines
Figure 52 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 56
45
In the next example we observe a singer who manages this transition in a lower part of
his range Figure 54 shows an ascending A major scale beginning on A3 sung on an [a] vowel
by countertenor Brennan Hall In signal A the cursor is placed on B4 and in signal B the cursor
is placed on C4 The transition from the chest voice to the lower-middle voice is evident in the
change in CQ from 39 to 33
Figure 53 Octave scale from A3 to A4 on [a] by Steven Rickards Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 57
46
Figures 55 and 56 show a power spectrum of the same A major scale sung by Brennan
Hall displayed using an LTAS of 300 ms with measurements taken at B4 and C4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on B4 by 5 dB and H3 is dominant over H4 by 8 dB on C4 This measurement reveals
a change in amplitude of 3 dB between H3 and H4 from D4 to E4 In this instance the singer has
maintained a consistent resonance strategy through the transition However it is worth noting
the decrease in decibel level of H3 and H4 as the singer moves from the chest register to the
lower-middle register
Figure 54 Octave scale from A3 to A4 on [a] by Brennan Hall EGG Waveforms are shown of
B4 (A) and C4 (B)
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 58
47
Figure 55 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H3
Figure 56 Octave scale from A3 to A4 on [a] by Brennan Hall Power spectra show B4 (A) and
C4 (B) with cursors placed on H4
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 59
48
Another singer provides an example of the transition which takes place in the range
between the transitions of Steven and Brennan Figure 57 shows an ascending A major scale
beginning on A3 sung on an [a] vowel by countertenor Andrew Rader In signal A the cursor is
placed on C4 and in signal B the cursor is placed on D4 In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(197357=55 and 143339=42) The transition from chest voice to the lower middle voice
is shown through a change in CQ of 13
Figures 58 and 59 show a power spectrum of the same A major scale sung by Andrew
Rader displayed using an LTAS of 300 ms with measurements taken at C4 and D4 A slight
resonance adjustment can be observed between H3 and H4 Using the LTAS H3 is dominant
over H4 on C4 by 13 dB and H3 is dominant over H4 by 18 dB on E4 This creates a change in
amplitude of 5 dB between H3 and H4 from C4 to D4 In this instance the singer has
Figure 57 Octave scale from A3 to A4 on [a] by Andrew Rader EGG Waveforms are shown of
C4 (A) and D4 (B)
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 60
49
maintained a consistent resonance strategy through the transition with a very small decrease in
the decibel levels of H2 and H3
Figure 58 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 61
50
Countertenor Reginald Mobley manages a nearly imperceptible transition from the chest
register to the lower-middle register Figures 510 511 and 512 show an ascending A major
scale beginning on A3 sung on an [a] vowel These figures display a series of EGG waveform
signals which show a gradual decline in CQ as the singer ascends in pitch through the transition
Figure 510 displays the first instance in which the CQ begins its gradual decline The
cursor is placed on B3 in signal A and C4 in signal B In the case of both EGG waveform
signals a manual CQ measurement was taken by placing the orange cursor at the beginning of
the closed phase The CQ was then calculated by dividing the Interval by the Period
(210395=53 and 174353=49) Between these two pitches the CQ has decreased by 4
Figure 59 Octave scale from A3 to A4 on [a] by Andrew Rader Power spectra show C4 (A)
and D4 (B) with cursors placed on
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 62
51
In Figure 511 another decline in CQ is observed from C4 (signal A) to D4 (signal B) In
the case of both EGG waveform signals a manual CQ measurement was taken by placing the
orange cursor at the beginning of the closed phase The CQ was then calculated by dividing the
Interval by the Period (174353=49 and 150331=45) Between these two pitches the CQ
has declined by 4
The final descent in CQ is shown in Figure 512 which displays D4 (signal A) to E4
(signal B) In the case of both EGG waveform signals a manual CQ measurement was taken by
placing the orange cursor at the beginning of the closed phase The CQ was then calculated by
dividing the Interval by the Period (150331=45 and 125289=43) Between these two
pitches the CQ declined by a modest 2
Figure 510 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of B3 (A) and C4 (B)
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 63
52
Figure 511 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of C4 (A) and D4 (B)
Figure 512 Octave scale from A3 to A4 on [a] by Reginald Mobley EGG Waveforms are
shown of D4 (A) and E4 (B)
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 64
53
This example shows how the singer was able to manage a seamless transition by
gradually decreasing his CQ through a series of pitches The exact moment in which he switches
from chest voice to head voice is difficult to identify aurally It is possible that he has managed
this transition by employing a mixed voice or voix mixte
Figures 513 and 514 show a different vocalise in which the singer was asked to switch
between the chest voice and head voice on C4 In Figure 513 the EGG waveform is compared
between the two productions Signal A shows the chest voice in which the singer produces a
CQ of 56 Signal B shows the head voice in which the singer produces a CQ of 33
Through observing the CQ history in the upper left quadrant a drop-off and rise can be
observed as the singer repeatedly switches between chest voice and head voice In Figure 514
the two transitional areas are explored In signal A the cursor is placed during the downward
slope in the CQ as the singer transitions from the chest voice to the head voice In signal B the
cursor is placed during the upward slope in the CQ as the singer transitions from the head voice
to the chest voice The CQ is measured at 41 and 42 in these two transitional areas which is
nearly in the center of the two measurements shown in Figure 513 at 56 and 33 This
gradual change in CQ allows the singer to transition smoothly between the two productions
Figure 513 EGG waveform of a C4 sung by Reginald Mobley Chest voice is shown in signal
A head voice is shown in signal B
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 65
54
Figures 515-520 show a power spectrum of the same A major scale sung by Reginald
Mobley displayed using an LTAS of 300 ms These figures show the resonance strategy used in
his transition from the chest register to the lower middle register from pitches B3 through E4
Figures 515 and 516 show a power spectrum of B3 (signal A) and C
4 (signal B) These
are the first two pitches in which the singer begins to decrease his CQ as he transitions A
resonance adjustment can be observed between H3 and H4 when comparing these two pitches
Using the LTAS H3 is dominant over H4 on B3 by 17 dB and H3 is equal to H4 at -28 dB on
C4 It is evident that the singer has adjusted F2 toward H4 as he moves to the C
4 creating a
balance between H3 and H4
Figure 514 EGG waveform of a C4 sung by Reginald Mobley Transition from chest voice to
head voice is shown in signal A head voice to chest voice is shown in signal B
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 66
55
Figure 515 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
Figure 516 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show B3 (A)
and C4 (B) with cursors placed on
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 67
56
The balance between H3 and H4 is maintained as the singer moves from C4 (signal A) to
D4 (signal B) shown in Figures 517 and 518 On C4 H3 and H4 are equal at -26 dB On D4
these harmonics remain stable at -24 dB and -28 dB respectively
Figure 517 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H3
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 68
57
In Figures 519 and 520 the singer makes a resonance adjustment between D4 (signal A)
and E4 (signal B) On D4 H3 is dominant over H4 by 4 dB On E4 H3 is dominant over H4 by
22 dB The distance between H3 and H4 has increased in amplitude by 18 dB between D4 and
E4 This indicates that H4 has moved out of the range of the second formant Though aurally
imperceptible it is possible the singer has made a full transition to head voice when he reaches
E4
Figure 518 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show C4
(A) and D4 (B) with cursors placed on H4
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 69
58
Figure 519 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H3
Figure 520 Octave scale from A3 to A4 on [a] by Reginald Mobley Power spectra show D4 (A)
and E4 (B) with cursors placed on H4
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 70
59
A comparison with the female voice reveals some similar characteristics with respect to
the chest voice to head voice transition observed in the above examples Figure 521 shows an
example of an Ab major scale beginning on A
b3 sung on [a] by a mezzo-soprano In signal A the
cursor is placed on C4 and in signal B the cursor is placed on Db4 In this example the CQ
changes from 40 to 25 as the female singer makes a transition from the chest voice to the
head voice
The power spectrum of the same Ab scale sung by the mezzo-soprano is shown in Figure
522 In signal A the cursor is placed on C4 and in signal B the cursor is placed on Db4 In this
example we see a different resonance strategy from the countertenor examples observed above
On C4 F2 is tuned to H5 On Db4 F2 moves to H4 None of the countertenors demonstrated a
dominant H5 This is possibly the result of lower formant frequencies in the male vocal tract
39
Ibid figure 112
Figure 521 Octave scale from Ab3 to A
b4 on [a] by mezzo-soprano EGG waveforms are shown
of C4 (A) and Db4 (B)
39
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 71
60
The last example is from countertenor Dan Bubeck who begins an A major scale starting
on A3 on an [a] vowel In this example the singer avoids the chest voice and begins the vocalise
in head voice from the start In this instance he creates a convincing sound with this method In
Figure 523 the cursor is placed on B3 in signal A and A3 in signal B In the case of both EGG
waveform signals a manual CQ measurement was taken by using the orange cursors The CQ is
27 on the A3 and 30 on the B3 The lower CQ on A3 is evidence that the singer began this
vocalise without implementing chest voice
40
Ibid figure 113
Figure 522 Power spectra of C4 (A) and Db4 (B) from A
b scale on [a] by mezzo-soprano
40
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 72
61
A resonance adjustment can be observed low in the scale however Figures 524 and
525 show a power spectrum of B3 (signal A) and C4 (signal B) On B3 H3 is dominant over H4
by 5 dB On C4 H3 is dominant over H4 by 16 dB This is an overall change in amplitude of
11 dB In this instance the singer has made a resonance adjustment without making an
adjustment at the vocal folds
Figure 523 Octave scale from A3 to A4 on [a] by Dan Bubeck EGG waveforms are shown of
B3 (A) and A3 (B)
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 73
62
Figure 524 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H3
Figure 525 Octave scale from A3 to A4 on [a] by Dan Bubeck Power spectra show B3 (A) and
C4 (B) with cursors placed on H4
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 74
63
CHAPTER SIX
CONCLUSIONS
An analysis of the data collected revealed a number of registration commonalities among
the participants What follows is a general overview of the registers of the countertenor voice
based on signals recorded and analyzed in VoceVista
Upper Register
The transition from the upper-middle register to the upper register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H1 and H2 with H1 gaining in dominance In all
of the participants this change took place in the range between C5 and E5 This was the
uppermost register transition identified
In regard to upper range the majority of the participants had a top note of G5 Two of the
participants had a top note of E5 One participant exhibited a rare upper range which extended
to C6
Middle Registers
The transition from the lower-middle to the upper-middle register was characterized by
an increase in closed quotient (CQ) and a resonance change The power spectrum showed a
characteristic shift in the relative amplitudes of H2 and H3 with H2 gaining in dominance In
every participant this change took place in the range between F4 and A4
A unique characteristic of the upper-middle register was the continuous rise in CQ that
took place with each rising pitch This pattern continued until the singers transitioned to the
upper register
Chest Register
The transition from the chest register to the lower-middle register was the most diverse
among the participants This transition was primarily characterized by a decrease in closed
quotient (CQ) The area of transition ranged from B3 to E4 It was observed that an audibly
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 75
64
smooth transition seemed to correspond with a gradual and slight adjustment in CQ rather than a
drastic change
Some of the participants adjusted their resonance strategy during this transition The
power spectrum showed a characteristic shift in the relative amplitudes of H3 and H4 with H3
gaining in dominance Others maintained a consistent resonance strategy through the transition
delaying the resonance adjustment to a higher part of their range One of the participants did not
utilize his chest register in the vocalises used
Registration Model
A registration model for the countertenor voice based on the research is shown in Figure
61 This model represents the register adjustments made by the countertenors who participated
in this study which examined 11 countertenors ranging in age from 23 to 55 years of age In
these findings it can be concluded that the registers are similar between the countertenor and
mezzo-soprano voices These observations should be helpful to the voice teacher in the studio
and to both the teacher and student in their journey to find appropriate literature for the voice
Chest G3
(and lower)
D4
Lower
Middle A3 G
4
Upper
Middle G4 D5
Upper C
5 C6
(
Figure 61 Registration model for the countertenor voice Overlapping indicates different
singers and their adjustments
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 76
65
GLOSSARY
The following terms have been quoted and adapted from Donald Millerlsquos Resonance in
Singing41
amplitude A quantitative measure of the strength of a signal as in the decibel amount of a
sound or of one of its frequency components
articulators The movable parts of the vocal tract ndash tongue lips jaw velum etc ndash which
determine the (adjustable) formant frequencies as well as breath stream dynamics are
collectively called articulators
back vowel Back vowels are those with relatively low second formants and a tendency to lip
rounding principally the series (from close to open) [u] [U] [o] [ɔ] [a]
closed vowel Close (closed) vowels are those with low F1s such as [i] [u] and [y]
bandwidth A formant or resonance responds to a limited range (band) of frequencies The
wider the bandwidth that it responds to the more rapidly the sound will damp or decay As a
resonator the vocal tract has a narrower bandwidth and thus a higher quality when the glottis is
closed explaining one of the advantages of a large closed quotient
decibel Decibel is a unit used for measuring relative sound pressure level (SPL) or physical
intensity Most decibel measurements state the difference in intensity between two sounds (or
between frequency components of the same sound as is the case with the power spectrum)
(Relative) decibel measurements are given as negative quantities in a display where the reference
amount is the top of the display (zero decibels) Absolute decibel measurements are in relation
to a designated minimum amount typically set at the threshold of perception Decibel units are
logarithmic like the frequencies of the piano keyboard where every octave is a doubling
electroglottograph (EGG) The EGG is a non-invasive device for measuring relative contact
between the vocal folds In singing voice investigations it can reveal not only the frequency of
the glottal cycle but usually the closed quotient as well
formant A formant is a variable resonance of the vocal tract The first (lowest in frequency)
five formants make important contributions to a sung sound The frequencies of the first two
(designated F1 and F2 called the vowel formants) determine the vowel and are also principal
varying factors in formant tuning
frequency Frequency is the repetition rate of a periodic signal expressed in hertz (Hz) or
cycles per second The fundamental frequency (F0) determines what is perceived as pitch the
41
Ibid 110-124
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 77
66
psychoacoustic counterpart of F0 Frequency is the reciprocal of period the time duration of one
cycle
frequency component Natural sounds although heard as single tones are made up of
components of varying amplitudes at various frequencies which collectively constitute the sound
quality The frequency components of harmonic sounds are whole-number multiples of the
fundamental
front vowel Front vowels are those characterized by a fronted tongue causing a relatively high
second formant They include the series (from close to open) [i] [I] [e] [ɛ] [aelig] as well as the
―mixed vowels (fronted tongue and rounded lips) [y] [Y] [oslash] [œ]
glottal cycle The glottal cycle consisted of single iteration of the repeated opening and closing
of the glottis
glottis The glottis is the opening between the vocal folds
harmonic A harmonic is one of the frequency components of a periodic sound which include
H1 the fundamental frequency (note that F0 = H1) and whole-number multiples of H1 H2 H3
H4 etc Harmonic sound is periodic as distinguished from non-periodic noise
harmonic series A harmonic series for a given F0 is generated by successively adding F0 to the
previous member F0 2F0 3F0 4F0 etc The musical interval between members of the series
decreases with each higher step
H1-H2 octave
H2-H3 perfect fifth
H3-H4 perfect fourth
H4-H5 major third
H5-H6 minor third etc
hertz (Hz) Cycles per second a unit of frequency
International Phonetic Alphabet (IPA) The IPA is a set of symbols for the sounds of speech
that transcends the use of the alphabet in any particular language IPA symbols in this treatise
are always given in square brackets eg [i]
long time average spectrum (LTAS) LTAS accumulates spectral measurements over specified
duration displaying them lumped together in a single power spectrum
non-invasive A procedure is considered non-invasive when it does not hinder normal use of a
function For the singing voice the EGG is non-invasive while laryngoscopy with a rigid
endoscope requiring a certain tongue position is invasive
normalized A signal is said to be normalized when one of its dimensions ndash usually amplitude ndash
is automatically adjusted to conform to a desired norm In VoceVista the audio and the EGG
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 78
67
signals are normalized in order to fill the waveform display and thus cannot be relied upon for
information concerning absolute amplitude of the signal
open phase The open phase of the glottal cycle is that portion where the vocal folds have come
apart permitting air to flow through the glottis
open vowel Vowels with high first formants such as [a] and [aelig] are considered phonetically
open
overtone Overtones are harmonic frequency components of a complex sound (such as voice)
all whole-number multiples of the fundamental frequency (F0) Confusion in the numbering can
arise because the first overtone is the second harmonic (H2) In overtone singing F0 is
suppressed and individual harmonics are emphasized usually by means of second formant
tuning so that one hears the higher harmonic as a separate pitch
power spectrum see spectrum
primary register transition (PRT) The PRT is the (movable) point in the F0 range of a voice
where the vibration pattern of the glottal voice source shifts from chestlsquo to headlsquo
register Register is a term used to designate a perceived segment of the total frequency and
intensity range of a voice which differs in sound or mechanical principle from other segments
Singing voice practitioners recognize registers based on both vibration patterns of the voice
source and on shifts in resonance Classical singing training typically aims to smooth the abrupt
transitions between the ―natural registers the chestlsquo and headlsquo vibration patterns in their
isolatedlsquo (unblended) state
registration event A registration event is a move from one register to another The yodel is an
intentionally obvious example but singers can also disguise registration events for the sake of
constructing the ―even scale
resonance strategy As pitch rises and the distance between harmonics increases classical
singers seek to find formant patterns that make optimal use of the available harmonics at a given
fundamental frequency (F0) these patterns whether conscious or not are designated resonance
strategies in this book which encourages adopting conscious strategies informed by spectral
feedback
source spectrum The source spectrum is a theoretical construction of the sound that emerges
from the glottis without the ―filtering effect of the vocal tract It is presumed to have a spectral
slope of -6 to -12 dB per octave
spectrum power spectrum spectrogram The (narrow-band) spectrum of a sound displays the
relative strength of each of its frequency components A power spectrum has two dimensions
frequency (in hertz) and amplitude (in decibels) The spectrogram adds a third dimension of
time with intensity then shown in color or shades of gray
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 79
68
standing wave In the audio signal one speaks of a standing wave when a prominent harmonic
frequency component continues its periodic path through the open phase with relatively little loss
of energy and is timed well for reinforcement from the next glottal closing The spectrum of
such a sound is usually characterized by a dominant harmonic at the frequency of the standing
wave
vibrato In singing vibrato is a relatively small quasi periodic modulation of the fundamental
frequency (F0) usually at rates between 45 and 7 hertz
vocal fry Vocal fry is the popping sound of air bubbling slowly through an otherwise closed
glottis so that individual ticks at a rate of about 15 to 50 Hz can be heard The non-periodic
succession of ticks produces a continuous spectrum revealing especially the frequencies of the
first two formants of the vocal tract
vocal tract The vocal tract is the complex air space between the glottis at one end and the
opening of the lips (andor nostrils) at the other All the resonances that shape the glottal airflow
(the voice source) and the audible radiated sound are properties of this space and the walls that
contain it
VoceVista VoceVista is a feedback and analysis system for the singing voice processing
signals of the (non-invasive) microphone and electroglottograph (see wwwvocevistacom)
voice source The voice source is the volume velocity waveform (plotting volume displacement
of air against time) that passes through the vibrating vocal folds typically as a series of discrete
puffs of air Voice source is also used to refer to the vibrating vocal folds which are relatively
independent of the vocal tract
voix mixte Voix mixte is a term that is often used by singers to indicate a register that is not
clearly chest or headfalsetto but something in between It has a long history having been in
common use by pedagogues in the Parisian school going back to the first half of the 19th
century
vowel formants The lowest two formantsresonances of the vocal tract F1 and F2 are
responsible for ―forming the vowel At the same time they are the resonances that are
employed in formant tuning
vowel modification Vowel modification is a concept from voice pedagogy predating the notion
of formant tuning but dealing essentially with the same process that is adjusting the vowel
(formants) to accommodate changes in F0
vowel space The vowel space is a term we use to refer to a two-dimensional plot of F1 vs F2 in
which the various regions identified by their F1-F2 combinations represent the several vowels
and their shadings
waveform A waveform displayed as amplitude vs time is the shape of a single cycle of a
repeated signal Of particular interest here are waveforms of sound pressure (microphone) and
vocal fold contact (EGG)
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 80
69
APPENDIX A
HUMAN SUBJECTS COMMITTEE APPROVAL LETTER
Office of the Vice President For Research
Human Subjects Committee
Tallahassee Florida 32306-2742
(850) 644-8673 middot FAX (850) 644-4392
APPROVAL MEMORANDUM
Date 5142010
To Raymond Chenez
Address
Dept MUSIC SCHOOL
From Thomas L Jacobson Chair
Re Use of Human Subjects in Research
Vocal Registers in the Countertenor Voice
The application that you submitted to this office in regard to the use of human subjects in the
research proposal referenced above has been reviewed by the Human Subjects Committee at its
meeting on 05122010 Your project was approved by the Committee
The Human Subjects Committee has not evaluated your proposal for scientific merit except to
weigh the risk to the human participants and the aspects of the proposal related to potential risk
and benefit This approval does not replace any departmental or other approvals which may be
required
If you submitted a proposed consent form with your application the approved stamped consent
form is attached to this approval notice Only the stamped version of the consent form may be
used in recruiting research subjects
If the project has not been completed by 5112011 you must request a renewal of approval for
continuation of the project As a courtesy a renewal notice will be sent to you prior to your
expiration date however it is your responsibility as the Principal Investigator to timely request
renewal of your approval from the Committee
You are advised that any change in protocol for this project must be reviewed and approved by
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 81
70
the Committee prior to implementation of the proposed change in the protocol A protocol
changeamendment form is required to be submitted for approval by the Committee In addition
federal regulations require that the Principal Investigator promptly report in writing any
unanticipated problems or adverse events involving risks to research subjects or others
By copy of this memorandum the Chair of your department andor your major professor is
reminded that heshe is responsible for being informed concerning research projects involving
human subjects in the department and should review protocols as often as needed to insure that
the project is being conducted in compliance with our institution and with DHHS regulations
This institution has an Assurance on file with the Office for Human Research Protection The
Assurance Number is IRB00000446
Cc Wanda Brister-Rachwal Advisor
HSC No 20104412
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 82
71
APPENDIX B
INFORMED CONSENT LETTER
FSU Consent Form
Vocal Registers of the Countertenor Voice
You are invited to be in a research study regarding the vocal registers of the countertenor voice
You were selected as a possible participant because of your vocal abilities and credentials We
ask that you read this form and ask any questions you may have before agreeing to be in the
study
This study is being conducted by Raymond Chenez College of Music Florida State University
Background Information
The purpose of this study is to discover more about the vocal registers of the countertenor voice
Through spectrographic and electroglottographic analysis the areas of the voice in which
registration events occur will be determined The final treatise will serve as a reference for
teachers and countertenors
Procedures
If you agree to be in this study we would ask you to do the following things
Sing a series of vocalises into a microphone with an electroglottograph fastened around the
outside of the neck The (EGG) will be fastened snugly but will not restrict the airway It is a
non-invasive signal in which a minute high-frequency current runs between electrodes that are
held in place on either side of the larynx The vocalises you will be asked to sing are consistent
with everyday professional singing activity Audio recordings and (EGG) readings will be
retained The duration of the recording process will be approximately an hour
Risks and benefits of being in the Study
The risks are consistent with those encountered in everyday singing
The benefit to participation is the contribution to the technical knowledge of the countertenor
voice
Compensation
You will not receive compensation
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 83
72
Confidentiality
The data from this study will be printed in the final treatise Audio recordings as well as visual
representations of the data collected will appear in the document With your permission your
name may also appear in connection with the audio recordings and data Any additional
information will be kept private and confidential to the extent permitted by law
Voluntary Nature of the Study
Participation in this study is voluntary Your decision whether or not to participate will not
affect your current or future relations with the University If you decide to participate you are
free to withdraw at any time without affecting those relationships
Contacts and Questions
The researcher conducting this study is Raymond Chenez You may ask any question you have
now If you have a question later you are encouraged to contact him at (XXX) XXX-XXXX
The faculty advisor for this study is Wanda Brister-Rachwal (850) 644-5073
wbristerrachwalfsuedu
If you have any questions or concerns regarding this study and would like to talk to someone
other than the researcher(s) you are encouraged to contact the FSU IRB at 2010 Levy Street
Research Building B Suite 276 Tallahassee FL 32306-2742 or 850-644-8633 or by email at
humansubjectsmagnetfsuedu
You will be given a copy of this information to keep for your records
Statement of Consent
I have read the above information I have asked questions and have received answers I consent
to participate in the study
I agree to the use of my name in association with the research conducted
Yes______ No______
________________ _________________
Signature Date
________________ _________________
Signature of Investigator Date
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 84
73
BIBLIOGRAPHY
Ardran GM and David Wulstan ―The Alto or Countertenor Voice Music amp Letters
48 no 1 (January 1967) 17-22
Baldwin Olive and Thelma Wilson ―Alfred Deller John Freeman and Mr Pate Music
amp Letters 50 no 1 (January 1969) 103-10
Dearnley Christopher English Church Music 1650-1750 London Oxford University
Press 1970
Garcia II Manuel A Complete Treatise on the Art of Singing Part One New York Da Capo
Press 1984
Giles Peter A Basic Countertenor Method London Kahn amp Averill 2005
mdashmdashmdash The History and Technique of the Counter-Tenor Cambridge University Press
1994
Hodgson Frederic ―The Contemporary Alto Musical Times 106 no 1466 (April
1965) 293-94
Hough John ―The Historical Significance of the Counter-Tenor Proceedings of the
Musical Association 64th
Sess (November 1937) 1-24
Miller Donald Resonance in Singing Voice Building through Acoustic Feedback Princeton
NJ Inside View Press 2008
Miller Richard The Structure of Singing System and Art in Vocal Technique
Belmont CA Schirmer 1996
Stubbs G Edward The Adult Male Alto or Counter-tenor Voice New York The H W
Gray Co 1908
Sundberg Johan The Science of the Singing Voice DeKalb Northern Illinois University Press
1987
Vennard William Singing The Mechanism and the Technic New York C Fisher 1967
Ware Clifton Basics of Vocal Pedagogy The Foundations and Process of Singing McGraw-
Hill 1998
Welch GF DC Sergeant and F MacCurtain ―Some Physical Characteristics of the
Male Falsetto Voice Journal of Voice 2 no 2 (1988) 151-63
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 85
74
―Xeroradiographic-Electrolaryngographic Analysis of Male Vocal Registers Journal of
Voice 3 no 3 (September 1989) 244-56
Woodfill Walter L Musicians in English Society Princeton Princeton University Press
1953
Wright FB ―The Alto and Countertenor Voices The Musical Times 100 no 1401
(November 1959) 593-94
Zaslaw Neal ―The Enigma of the Haute-Contre The Musical Times 115 no 1581
(November 1974) 939-41
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 86
75
BIOGRAPHICAL SKETCH
Education
Florida State University College of Music Tallahassee 2008-2011 Doctor of Music in Vocal Performance
Treatise ―Vocal Registers in the Countertenor Voice Based on Signals Recorded
and Analyzed in VoceVista
Major Professor Wanda Brister
Florida State University College of Music Tallahassee 2006-2008 Master of Arts in Arts Administration
Major Professor Anne Hodges
State University of New York at Fredonia
2002-2006 Bachelor of Music in Vocal Performance
Major Professor Delia Wallis
Academic Honors and Awards
2010 Dissertation Research Grant Department of Graduate Studies
2008-2011 Graduate Assistantship Florida State University
Tuition waiver and stipend
2008 Pi Kappa Lambda Music Honor Society Florida State University
2006-2008 Graduate Assistantship Florida State University
Tuition waiver and stipend
Artistic Honors and Awards
2011 MONC Florida District Encouragement Award
2010 Birmingham (Alabama) Opera Competition (National) 4th
place
Bethlehem (Pennsylvania) Bach Competition (National) Finalist
2009 Louisville (Kentucky) Bach Society Competition (National) Honorable Mention
2008 Suncoast Opera Guild Competition (St Petersburg FL) (State) 3rd
place
Orpheus Vocal Competition (Murfreesboro TN) (National) 3rd
place
2007 Southeast Regional NATS Auditions Tallahassee FL 2nd
place
2006 Vincent Morette Music Award SUNY Fredonia
2005 David Evans Vocal Performance Award SUNY Fredonia
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill
Page 87
76
Performances
Opera Roles
Britten A Midsummer Nightrsquos Dream Oberon
Handel Serse Arsamene
Purcell Dioclesian Countertenor
Anon The Play of Herod Shepherd
Opera Scenes
Handel Ariodante Ariodante
Giulio Cesare Giulio Cesare
Monteverdi LrsquoIncoronazione di Poppea Nerone
Sondheim A Little Night Music Mrs Segstrom (Mr)
Concert Repertoire Bach Cantata 62
Cantata 133
Cantata 153
Bernstein Chichester Psalms
Missa Brevis
Handel Cantata 132c
Judas Maccabaeus Israelitish Man
Messiah
Saul David
Monteverdi Vespers of 1610
Professional Organizations
Amherst Early Music Festival St Paullsquos Cathedral Buffalo NY
Florida State Opera Seraphic Fire Miami FL
Master Chorale of Tampa Bay SUNY Fredonia College Choir (Guest Artist)
Opera Sacra Buffalo NY Tallahassee Community Chorus
St Johnlsquos Episcopal Church Tallahassee
Conductors Directors CoachesMaster Classes Voice Teachers
Andrew Cantrill Matthew Lata Julianne Baird Wanda Brister
Douglas Fisher Drew Minter David Daniels Michael Dean
Gerald Gray Douglas Fisher Roy Delp
Patrick Dupreacute Quigly Timothy Hoekman Delia Wallis
Anthony Rooley Graham Johnson
Jonathan Scarozza Jan Kobow
Andreacute Thomas Stephan MacLeod
Richard Zielinski Kenneth Merrill