6. Comparative Methods of Teaching Singing

This is a survey of comparative methods37 or schools of teaching singing. The methods or schools - although perhaps not complete, are listed in the following order:

1. Bel Canto                                                     BC
2. Emotional                                                     EM
3. Interpretative                                                IN
4. Natural                                                         NAT
5. Psychological                                               PSY
6. Resonance                                                   RE
7. Speech                                                         SP
8. Organic Co-ordination                                  CO-OR
9. Local Effort (Physical)                                  EF
10. Modern Scientific                                        SC
11. Phonetic Placement                                     PP
12. Psycho-Physiological Acoustical                  PPA
13. Register                                                      REG
14. Respiration                                                 RES
    

Representative statements from the fourteen different methods or schools are listed under the following subdivisions or concepts:

1. Pedagogical concepts
2. Breathing (inhalation and exhalation)
3. Phonation
4. Articulation (Diction)
5. Resonance (Quality)
6. Dynamics
7. Range

Agility, vocal hygiene, ear training, and interpretation were not listed since there were few controversial statements.

In most cases the statements have been changed so that they are not quoted exactly. The bases for the statements listed were taken from books, periodicals, and interviews. No reference (or credit) is given for any state­ment for two reasons:

1. To avoid bias, that is, being influenced by who wrote or made the statement, and
   
2. To avoid misrepresentation, because a statement taken out of   context may not represent what the author really meant.
   

The statements listed are the third screening from several hundred statements. Perhaps the list is too long, but at least it is a start toward a comparative study of schools or methods of teaching singing.

In the light of recent developments in educational psychology, research in acoustics, and the use of motion pictures and x-ray photography of the vocal tract, particularly the action of the larynx, many of the statements listed are false. The truth of many statements is dependent on timing, that is, a statement may be valid at one stage of a singer's development and not at another.

Pedagogical Concepts

BC  1. The objective of vocal training should be to develop in the mind of the student the right concept of a beautiful tone.

2. With the singing voice as the tonal output of the singer.
   
3. Based on vocalization, registration, and vowel purity.
   

EM  1. Singing should be something you feel, rather than something you do, and not a science.

IN  1. Intelligent interpretation should be the end and aim of singing.

2. A musical-vocal interpretation of a text.
   
3. Interpret everything you sing, even exercises.
   

NA  1. The acquisition of naturalness should take precedence over all other vocal accomplishments in training the singing voice.

2. Leave the singing instrument alone.
   
3. Conscious control leads to constriction.
   

PSY  1. The mind sings, not the voice.

2. Vocal controls are all mental, not physical.
3. Therefore, the mind should be trained, not the voice.
   RE   1. Voice is resonance and nothing more.
   

2. Resonance quality is everything in voice study. SP   1. Sing as you speak.

2. Singing is speech which is prolonged and intensified. CO-OR  1. Your whole body sings.

2. The co-ordination of all parts of the body achieves the end result - tone.
   
3. Singing is the end product of the processes of breathing, phonation, articulation and resonation.
   

EF  1. By controlling the bodily processes, one controls the voice.

1. Such techniques as the light manipulation of muscles, or alternate tensing and relaxation of muscles may be used.
   
2. Lower the chin and elevate the chest.
   

SC  1. Only science will teach you how to be a good singer.

2. Voice training should be considered as a special outgrowth of its
   parent sciences, physiology and acoustics.
   
3. Singing is the end product of the processes of breathing, phonation, articulation, and resonation.
   
4. Vocal tone can be analyzed and definite standards can be established.
   

PHP  1. Phonetics simply do away with interference and thereby persuade correct action.

2. The vowel sounds should control the voice. PPA  1. Singing is a psychological - physiological - acoustical product.

2. Voice production is a neuro-muscular response that is psycho­
   logically controlled.
   
3. Singing is a physical skill that requires a definite procedure fortechnical development, and is psychological to such a high degree
   that what the singer thinks and how he feels may unconsciously be
   reflected in the color of his voice.
4. A teacher should use an indirect approach through mental imagery with physical training.

 RE 1. A one-register voice is a tonal possibility as far as identity is concerned, but a physical impossibility as far as the larynx is concerned.

2. Bridging the registers is an important and delicate process. RES  1. He who knows how to breathe knows how to sing. 2. Voice is vocalized breath.

Breathing Concepts

BC 1. The art of breathing rests fundamentally upon the art of tone pro­duction .

2. Let the beauty of the voice breathe for you.
   
3. The breath pressure should not Deregulated or controlled because of any necessity for saving it, but solely for the purpose of meet­ ing the energy requirements demanded by pitch and intensity.
   
4. The old Italian method emphasized natural breathing.
   

EM 1. Breathing is unimportant; the emotional set of the performer will provide the proper amount of the breath support.

2. The thought takes its own breath.
   
3. Sing with your heart.   Let your emotions be your metronome.
   

IN  1. Expressional intent regulates breathing.

2. The thought takes its own breath.
   
3. As you interpret - so you breathe.
   
4. Let the words and the mood of the song regulate the taking of the breath.
   

NA  1. Breathe naturally.

2. The singer must never breathe consciously.

PSY  1. Breathing should be attained through the mentality, not by con­scious manipulation of physical parts.

2. Forget all about the breath.
   
3. The subconscious, not the conscious, is concerned with the taking of the breath.
   
4. The nervous mechanism that controls the breathing works auto­matically .
   
5. Laughing, yawning, sighing, panting, and being startled are methods of cultivating breath control without local effort.
   
6. Breathing habits are promoted through the singing of songs.

RE   1. Use of pure resonance will lay aside all dependence on breathing.

2. Thinking of proper resonance will start the breath.
   
3. Tone is the result  of resonance,   so we do not need any great amount of muscular control and adjustment in the breathing ap­paratus.
   
4. If you do not get proper resonance, you are not breathing properly.
   

SP  1. Sing your phrase as you would speak it, and the breath will take care of itself.

CO-OR  1.  Co-ordination among various parts of the breathing mechanism is the important factor.

2. The larynx and abdominal muscles must have co-ordination to pro­duce a good tone.

3. The correct method of breathing requires a combination of rib raising and diaphragmatic contraction.

EF   1. Direct control of the breathing mechanism is necessary.

2. Physical exercises to enlarge the chest and strengthen the breath­ing muscles are an absolute necessity.
   
3. Separation of respiratory and phonatory training routines must be emphasized.
   
4. Torso action, not breathing, should be taught.   Expand to breathe - do not breathe to expand.
   

SC  1. Intercostal high-abdominal (diaphragmatic) breathing for inhala­tion and intercostal high-abdominal breath support for exhalation are the most efficient types of breathing for singing.

2. The diaphragm and the intercostal (rib raising muscles) are the most important muscles of inhalation.   The high abdominal and intercostal (rib lowering muscles) are the most important muscles for exhalation.   The diaphragm is not a muscle of exhalation.
   
3. The breath supply must not only be under pressure in singing but must also flow in a continuous stream.
   

PHP  1. Phonetic Placement is dependent on the proper breath support.

PPA 1. A proper inspiration prepares the throat for good tone production, and during the tone production the mind can be used to a better advantage in remembering placement sensations or interpretations. 2. Basically, breath control should be an enunciation or diction con­trol, supported by a pressure flow of the breath.

REG   1. Register changes are affected by proper or improper breathing.

2.         If there is a break in your register, you are not breathing correctly.

3.         Resistance to the passing stream of breath is only one of several functions which have to be exercised at the glottis, which is the gateway to the lungs in one direction,  and the organ of breath control in the other.

RES   1. Respiration is the power behind the tone, the foundation of inter­pretative singing, the life-giving force of all vocal tone.

2. The first thing the singer must do is to learn to breathe properly.

Phonation Concepts

BC   1. Tonal beauty is vowel purity and clarity.

2. The art of singing lies in the avoidance of rigidity and the    adop­tion of the open throat. EM   1. Let the emotions control phonation.

2. The nervous system controls phonation.
   
3. The muscular activity in phonation is a conscious desire for oral expression.
   

IN   1. Motivation controls phonation  because it stimulates the proper desire to express.

2. Singing should be a soul satisfying experience rather than a self-conscious manipulation of the vocal mechanism.

NA  1. Phonation should be natural.

PSY 1. The action of vocal cords is entirely automatic and is governed by the will to make sound.

2. Do not think of any one factor in the process of phonation.
   
3. A secret of phonation is to hear the voice singing the first note for about three seconds before tone is actually emitted.
   

RE   1. Let resonance govern phonation.

2. The larynx sound consists of a fundamental  and overtone frequencies reinforced by resonance cavities.
3. The  resonating  cavities - nasal,  oral,  and pharyngeal - are the three most important resonators to the singer.

SP  1. Speaking phonation is the same as singing phonation except that more power is used in the latter.

3. Correct speech will produce correct phonation in singing.
   

CO-OR 1. Without proper organic co-ordination, phonation is impossible.

2. Action of the vocal organs is co-ordinate, acting in relation to and dependent upon each other.
   
3. Phonation is a product of conflicting forces functioning in a state of equilibrium.
   

EF  1. The correct conscious manipulation of the vocal muscles insures proper phonation.

2. The larynx tone consists of a fundamental and overtone frequencies which are selectively reinforced by the various resonances, thus producing a resultant vocal tone of great individuality that varies with each vocal utterance.
   
3. Retain the larynx in one position for singing.
   

SC  1. Phonation is the problem of balancing tension in the muscles of breathing with tension in the muscles of the larynx.

2. Conscious control of muscles used in phonation is impossible.
   
3. The first action of phonation is in the larynx. Keep it in a medium position, not high, not low.
   
4. Voice is not produced by the throat alone, but by the cooperation and coordination of all parts of the body.
   

PHP 1. The larynx is a transformer of energy. Its valve-like actions at the glottis convert thoracic breath pressure into acoustical energy, which is then projected into the surrounding atmosphere as voice.

2. The vowel governs the act of phonation.
   
3. Phonetic symbols are intelligibly produced through proper phonetic placement.
   
4. Keep the tongue low and the soft palate raised to provide pure vowels.
   

PPA 1. Phonation has three stages -thinking, attacking, sustaining; all are governed by mental purpose.

2. One must think, feel, and understand phonation.
   
3. Pharyngeal enunciation causes certain muscles of the larynx to pivot the moveable cartilages of the larynx.   This pivoting action causes the approximation (or drawing together) of the vocal cords for the production of sound, or phonation.
   

REG 1. Every voice is formed of distinct portions or registers, caused by variable approximations of the vocal cords.

2. So-called "registers" in the singing voice are actual changes in vocal cord adjustment reflected in resonance changes.
   
3. These changes follow the overtone theory of an octave, a fifth, a fourth, and a third.
   

RES 1. In respiration, the glottis is normally open, while in phonation the glottis must be kept closed. Therefore, it is not possible to build normal breathing reflexes into tone-supporting techniques of breathing.

Articulation Concepts

BC   1. Sing on the vowels.

2. Everything must be made subordinate to a free-flowing legato line, with every vowel perfectly formed and executed.
   
3. Carry the voice from vowel to vowel "like a string of pearls," without disturbing or interrupting the flow of sound.   Consonants should be quick, firm, and distinct, but not distracting.
   

EM   1. Greater emphasis should be placed upon the emotional aesthetic    factors than upon the intellectual content of the word.

  2. Let the emotions convey the word meaning to the audience.

  IN    1. Diction is the single most important item in interpretation.

2. Sing a word rather than a tone.
   
3. Proper diction should be the result of correct interpretation of the song.
   
4. The story is the important thing.
   

NA   1. Articulation is an automatic response.

2. Don't worry about diction (articulation); it will take care of itself.
   
3. To conceive a vowel mentally is all that is necessary to provide automatic adjustments of all organs of articulation that enter into the formation of that vowel, including lips and tongue.
4. Tune words into a song by using the free and natural inflections of speech.

PSY  1. Think the sound before you sing it.

2. To attack a tone the singer must first obtain a clear image of the vowel sound. RE   1. Good diction is an invaluable medium for helping tonal resonance.

2. Vowels, as we know, are the sound carriers, and all of them require a free opening of the throat, and mouth. Consonants are the sense carriers.
   
3. Unified diction is instantly adaptable to any language, and to all the needs of that language, since all activities of the special organs are spontaneous.
   
4. Proper resonance will free the throat and will leave the tongue and lips free to articulate.
   

SP  1. Learn to speak before you sing.

2. Well-spoken is half sung.
   
3. Pronunciation is of utmost importance in singing, as in speaking, and sung vowels are counterparts of spoken vowels.
4. Chanting is one of the oldest vocal methods because it combines speaking and singing art into one unified phonation process.
5. Learn to articulate and enunciate, and good singing will result.

CO-OR  1. All words are governed by organic co-ordination.

2. All vowels are properly shaped through co-ordination of muscula­ture in the back of the mouth and throat.
   
3. Learn to co-ordinate to favor both tone quality and enunciation.
   

E F 1. Articulation of consonants should engage only the front part of the mouth. Enunciation of vowels should be a pharyngeal action to include back of tongue, oral pharynx, and soft palate.

2. The lips, tongue, teeth, pharynx, and palate govern good diction.
   
3. The secret of good diction in singing is pharyngeal enunciation of the vowel sounds, which frees the front of the mouth for clear articulation of the consonants.
   

SC  1. Use the pharynx and throat rather than the mouth for vowel form­ation.   An approximate closure of the teeth is needed for every consonant except “h”. 2. There is no standard or fixed position of tongue, mouth, or other surfaces for any vowel sound.

PHP 1. Certain phonetics or sounds, parts of words or syllables, will always demand certain actions of the vocal organs.

2. If the voice is correctly 'placed1, all vowels can be sung with per­fect purity throughout the entire range.
   
3. Vowels are formed by the shape of the pharyngeal cavity.
   
4. Solfeggio is an important medium for perfecting the syllable diction of consonants and vowels.
   

PPA 1. Establish a pharyngeal control of the vowel sounds (enunciation) balanced by lip action, when necessary, with a clear and accurate articulation of consonants, supported by a pressure flow of the breath in a basic nasal-pharyngeal resonance.

2. Pharyngeal control of the vowel sounds with a clear and accurate articulation of the consonants constitutes good diction.
   
3. Correctly established pharyngeal enunciation frees the mouth and tongue for   consonant articulation,   and allows   for changing the tonal line by means of the lips.
   

REG 1. Pure vowels are easiest to produce only within the speaking range, which is usually only an octave or less. Vowel modification takes place in the higher registers of the singing range.

RES  1. Breath control is the secret of good diction.

2. Proper support will help to enunciate certain vowels on the bottom of the scale as well as on the top.

Quality Concepts

BC 1. Resonance is one of the primary goals of every known system of voice training.

2. There should be one resonance quality throughout the voice.

EM  1. Emotion controls the voice quality.

2. Vocal color varies with mood and expression.

2. Variations   of resonance   and quality  are in direct ratio to the emotional complex of the singer.
   
3. The right expressional use of the voice is a factor in determining and maintaining resonance.

IN  1. The right expressional use of the voice is the greatest factor in determining and maintaining its quality and resonance.

2. To supply deficiencies in the tone color, arouse a genuine feeling in the singer's voice.

NA 1. The natural law is: noninterference with the action of the vocal cords and full use of the resonance space.

2. Resonances will always occur naturally when muscular interferences are removed.
   
3. Leave the resonators alone.
   

PSY  1. The governor of tone quality is the mind and imagination of the singer.

2. Think a resonant tone and you will have it.
   
3. The great singer colors his voice psychologically and not by conscious control.
   

RE   1. Voice is resonance and nothing more.

2. All sound and quality is produced by the resonators.
   
3. Broadly speaking, the whole body is the sounding board of the voice.
   

SP   1. A resonant speaking voice is the secret.

2. If you have a resonant speaking voice, you will have a resonant singing voice.
   
3. The mouth remains always the "center of effort," the center of action, the core of the voice, the real pronouncing organ, and the actual former of the voice, but dependent upon its assisting resonators, the chest and the head.
   

CO-OR 1. Resonance quality:   the end product of a co-ordination of the pro­cesses of respiration and phonation.

2. Resonance is affected by different adjustments of the resonators, -nose, mouth and pharynx - and by different positions of the articulators - tongue and lips.

EF 1. The pharynx, generally speaking, is the primary resonator.

2. Favorable vocal resonance results from correct voluntary adjustments of the mouth and the lips.
3. When the tone is really pharyngeally resonated, the only tension or control which holds the position or shaping of the cavity pertains to the muscles of the tongue hyoid bone (i.e. , the geno-hyo-glossus muscles). The pharyngeal resonance cavity is relatively high - it is not down the throat or neck.
4. The pupil should be instructed in the best methods of controlling the positions of the throat, tongue, cheeks, and lips that will produce optimum resonance conditions during phonation.

SC 1. The study of resonation in the human voice is the study of tech­niques by which the normal reflex actions of the body, (bearing on the muscle action of the larynx, pharynx, naso-pharynx, soft palate, jaw, tongue, and lips) will allow the tone vibrations pro­duced by the vocal lips to seek all available resonance in the human body with the least possible interference.

2. Resonance is the final determinator of quality in the voice.
   
3. Good  singers1 voices possess prominent low overtones at 500 cycles and prominent high overtones at 2900 cycles.
   
4. What is commonly called "getting resonance in the voice" is really getting "2800," a matter of proper vibration as much as of proper resonance.
   
5. The pharynx is the main place of resonance.
   

PHP  1. Humming gives the best sensation for placement.

2. All front vowels will give you a more resonant tone, if placed correctly.
   
3. Nasal resonance - an illusion of head resonance - is due to bone conduction of sound.
   

PPA 1. The resonance of the normal voice quality uses the pharynx as the primary resonator, amplified or modified by mouth resonance and the natural hum in nasal resonance.

2. Resonance changes must be tuned to fit register changes.
   
3. Changes in resonance placement must follow the direction of vocal cord vibration or adjustment.
   
4. Establish nasal-pharyngeal resonance within the range of the con­versational voice.
   
5. A pharyngeal control of the vowel sounds, balanced by lip action when necessary, with a clear and accurate articulation of the con­sonants,  supported by a pressure flow of the breath, in a basic nasal-pharyngeal resonance.
   

REG  1. The different registers require different resonant placements.

2. The fundamental and overtones generated at the larynx require resonation of vowel bands of frequencies.

RES  1. Breath is the prerequisite for resonance.

2. One cannot have a resonant tone without the proper breath support.

Dynamics Concepts

BC   1. Seek quality; quantity will come.

2. Quality strengthens the voice more than volume.
   
3. Practice slowly with a light vocal quality.
   
4. Messa di voce is the only means of obtaining mastery of dynamics.
   
5. Never "build on the soft" unless the emphasis is actually being placed on "building."
   

EM  1. Your emotions will teach you your dynamics.

2. The emotions will give the command to the body, which will produce any desired volume.
   
3. To emphasize the emotional content of a song is to give force, prominence, or vividness of expression to the more or less variable complex of feeling that accompanies its interpretation.
   
4. Never force the voice so as to excite astonishment; never sing
   louder than lovely.
   

NA   1. Dynamics comes naturally; it is born with you.

2. Dynamics of the voice are a matter of the use of the natural resonators .

2. Voice projection is an automatic process.
   
3. Voice projection should be effortless and natural.
   

PSY  1. Thinking a tone louder or softer is all that is necessary to make it so.

2. Producing volume requires only the will to hear a louder tone.

RE   1. Resonance controls vocal dynamics.

2. Power depends upon the proper use of the resonance chambers.

SP  1. Let the normal inflections of speech influence the singer's dynamic levels.

2. Whispering   is a method of developing  breath support which is needed to sing full voice.
   
3. Tone and vowel sound are one.
   

CO-OR  1. Swelling and diminishing are based on organic co-ordination.

2. Volume of voice involves co-ordination between resonance areas.
   
3. By the use of the "square" mouth position,  either "hollow" or "hill-billy," pianissimo or forte, can be balanced into good loud or soft singing.
   

EF  1. Basically, dynamics is a pharyngeal control of a variable pres­sure flow of the breath.

2. The lips can be used to mute or open the sound.

SC  1. The force of the energizing agent will determine the amplitude of the glottal pulsations.

2. Your entire dynamics can be regulated at the glottis.
   
3. More breath pressure against the vocal cords results in a more intense tone.
   
4. The ideal for singing is dynamic balance.   As a rule, flexibility exercises may be commenced on medium voice, while control is being gained on forte tone.
   

PHP  1. Correct placement of sound will result in dynamic freedom.

2. In the normal range, high forward "nasal" resonance establishes loudness, mouth resonance establishes softness.

PPA  1. First establish nasal-pharyngeal resonance in a mezzo-forte or forte tone within the range of the conversational voice (an octave and one or two notes).   For power control, establish rise and fall of vowel tensions.

REG  1. Maximum intensity of vocal sound is really produced at the larynx.

2. The larynx must be free  throughout all registers to produce cor­rect dynamics.
   
3. Singing is done loudly until the registers are developed.
   
4. When every passage can be sung piano, mezzo-forte, and with full power, then piano forte should be applied to groups of notes and single notes in the voice registers.
   

RES  1. Without proper breath  support,  your dynamics cannot be sung correctly.

2. Strong breath support results in loud singing, and vice versa.
   
3. Breath energy is always commensurate with the intensity of the tone.
   
4. Loudness or softness of tone depends upon the rate at which the abdominal and intercostal   muscles send the breath against the vocal cords.
   

5. Great singers accomplish an intensified vocal utterance by means of an intensified breath pressure.

Range Concepts

BC   1. If you hear a beautiful tone, your range will increase.

2. After the middle octave is firmly established, the next is to ex­tend the range in both directions.
   
3. A blended, seemingly one-register line of quality is the ultimate aim.
   

EM  1. Let your emotion carry you away to your top voice.

2. Any form of interference in spontaneous expression manifests itself in spasmodic physical action.
   
3. Anxiety induces tension; hence high tones should not be anticipated.
   
4. Sing, and range takes care of itself.
   
5. Feel and think ascent while singing down the scale and vice versa.
6. Pitch control is embedded in the emotional pattern of the song.

IN  1. If proper interpretation is clear in the mind of the singer, proper range will result.

2. The impulse to express always awakens automatic vocal coordina­tions that provide appropriate pitch movements or inflections, suited to the meaning of the idea expressed.

NA   1. The theory of registers is an artificial and unnatural procedure, since divisions of range do not exist by nature.

2. There are no registers.
   
3. Sing naturally and make no adjustments for range.
   

RE  l. Range will increase with resonance.

2. Concepts of registration are closely interwoven with those of resonance .
   
3. By changing to the proper resonance we increase range.
   
4. Different ranges of the voice require changes in resonance place­ment.
   

SP   1. Beginners should first learn to talk on any pitch so that the sing­ing tone may be molded around the speaking pitches.

2. Simply speak the tones at the desired pitch; this will show the natural range.
   
3. One must learn to vary the pitch of his speaking voice, in order that he may increase the singing range.
   
4. The speaking voice is already fairly developed through constant use. It is necessary for the singer to extend this range above and below its everyday limits.
   

CO-OR  1. Development and co-ordination of the registers demand special training.

2. The registers must be made to cooperate by means of muscular co-ordination in the organic mechanism.
   
3. Proper co-ordination of the processes of respiration, phonation, articulation and resonation will result in range extension.
   

EF  1. Development of the registers demands special training because of muscle weakness.

2. Make the voice flop over the breaks  until sufficient  muscular strength has been built into the entire vocal instrument.

SC  1. The balancing of the three main resonators in singing should be accomplished through a pharyngeal control of the vowel sounds. This control tunes the resonators to the proper resonance qua­lity for the high and low voice mechanisms or registers.

2. The high voice or falsetto mechanism and the normal voice are produced by two mutually exclusive mechanisms or registers.
3. Register terminologies,   such as chest tone and head tone, are misleading.
4. PHP  1. Definite power for voice range must be established by definite phonetic control.

2. Modifying the vowels in upper registers extends the range.

PPA 1. At the end of the normal voice range, there should be a change in the direction of the breath stream down and forward. This brings in lower forward "nasal" resonance with mouth resonance to balance. The turning of the breath stream forward in the mouth tends to es­tablish the high-voice register adjustment. This change releases the strong pharyngeal constriction, particularly in the palatal muscles.

2. Range is a matter of following the physical laws of phonation, and therefore range development is a matter of equalizing the tensions and blending the registers.
   
3. Since there are no nerve endings in the vocal cords, they cannot be used as a sensory indication of changes in registers. The changes in resonance quality indicate register changes.
   
4. The voice naturally divides itself into a low voice of an octave, a middle voice of a fourth or a fifth, and a high voice of a third or a fourth.   In many voices there is an additional high range, which in women's voices is the coloratura register.
5. A complete vocalizing or pitch range may be wider, but two oc­taves above the average pitch of the speaking voice is an excellent singing range.
   

REG  1. Register control is the secret of a wide range.

2. There are at least three different registers.
   
3. There are registers in every musical instrument, but they must not show.   This is called the even scale.
   
4. A one-register voice is a tonal possibility as far as vocal identity is concerned, but a physical impossibility as far as the larynx is concerned.
   

RES  1. Support the tone intercostally, high abdominally, and more range will result.

2. Stronger pressure flow of the breath is necessary as the range goes higher, but the pressure flow must be balanced by changes in resonance placement.

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