Vocal register

In this usage, modal refers to the natural disposition or manner of action of the vocal cords.

[4][9] While speech pathologists and scholars of phonetics recognize four registers, vocal pedagogists are divided.

This controversy does not exist within speech pathology and the other sciences, because vocal registers are viewed from a purely physiological standpoint concerned with laryngeal function.

[9] The prevailing practice within vocal pedagogy is to divide both men and women's voices into three registers.

This happens through differing vibratory patterns of the vocal folds and manipulation of the laryngeal muscles.

Abducted falsetto, on the opposite end of the spectrum, sounds very breathy and can possibly be a sign of a lack of vocal fold closure.

[12] These different vocal fold vibratory patterns occur as the result of certain laryngeal muscles being either active or inactive.

As pitch rises, the vocal folds are lengthened, tension increases, and their thickness decreases.

[14] Vocal pedagogists teach that, with study, a singer can move effortlessly from one register to another with ease and consistent tone.

However, many pedagogists disagree with this distinction of boundaries, blaming such breaks on vocal problems which have been created by a static laryngeal adjustment that does not permit the necessary changes to take place.

The chief use of vocal fry in singing is to obtain pitches of very low frequency which are not available in modal voice.

This register is not used often in singing, but male quartet pieces, and certain styles of folk music for both men and women have been known to do so.

As pitch rises in this register, the vocal folds are lengthened, tension increases, and their edges become thinner.

A well-trained singer or speaker can phonate two octaves or more in the modal register with consistent production, beauty of tone, dynamic variety, and vocal freedom.

This is possible only if the singer or speaker avoids static laryngeal adjustments and allows the progression from the bottom to the top of the register to be a carefully graduated continuum of readjustments.

The essential difference between the modal and falsetto registers lies in the amount and type of vocal cord involvement.

The falsetto voice is produced by the vibration of the ligamentous edges of the vocal cords, in whole or in part, and the main body of the fold is more or less relaxed.

In contrast, the modal voice involves the whole vocal cord with the glottis opening at the bottom first and then at the top.

When a singer does not navigate this area sufficiently the voice folds temporarily lose the mucosal wave pattern resulting in an audible crack.