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But there is one place in voice training where the practice of the falsetto has a distinct value. I have seen many tenors and baritones who forced the heavy chest voice up until they developed an automatic clutch, and could sing the upper tones only with extreme effort. To allow them to continue in that way would never solve their problem. In such a condition half voice is impossible.
But this caused such inconvenience to so many people that the Military Governor of Paris was asked by the police to rescind his order, which he at once did. The tenors and baritones and sopranos of the Opera and other theaters are going round singing in the courtyards for the benefit of the Red Cross. The Salon is turned into a military stable.
Instead of specializing his vocal parts after the manner of Verdi and Gounod for high sopranos, screaming tenors, and high baritones with an effective compass of about a fifth at the extreme tiptop of their ranges, and for contraltos with chest registers forced all over their compass in the manner of music hall singers, he employs the entire range of the human voice freely, demanding from everybody very nearly two effective octaves, so that the voice is well exercised all over, and one part of it relieves the other healthily and continually.
Most basses and baritones, for example, sing only in one register, that is, they carry the vocal adjustment for the lowest register into the notes they are able to sing in the register above. These exceptions will be considered later.
In children the vocal cords are shorter than in adults. The cords of tenor singers are also shorter than those of basses and baritones. The muscles within the larynx, of course, play a very important part in altering the tension of the vocal cords.
The dazzling novelties, that come trumpeted with all the cunning speculators' arts, debauch us somewhat from our wholesome, quiet love of pure, high music for its own sake, and lead the public into little short-lived fanaticisms about certain prima donnas, baritones, or tenors, and about music chiefly made to show off the singer, full of the commonplaces that he loves to make "effect" in, fanaticisms alternating with blase indifference.
The bass compass parallels that for contralto and alto at an interval of an octave and, in their use of the registers, basses and contraltos and baritones and altos have much in common. As with contralto, the natural singing register of basses is the chest register.
So when all were ready, washed, and in their clean clothes, every one of the kabouter families, daddies, mothers, and young ones, were ranged in lines and made to sing. The heavy male tenors and baritones, the female sopranos and contraltos, the trebles of the little folks, and the squeaks of the very small children, down to the babies' cooing, were all heard by the gnomes, who were judges.
and the baritones, flinging themselves around with the looseness of Christy's Minstrels, in a "break down," would reply: "Don't tell me! Don't tell me!" Then the tenors would resume: "Says I, Ole man, your horse'll die." Then the baritones, with an air of exaggerated interest; "A-ha-a-a, Billy Patterson!" Tenors: "For. It he dies, I'll tan his skin; An' if he lives I'll ride him agin,"
"I'm fond of my wethers ers ers," says Monsieur Caterna, in any number of baritones. It is the everlasting duet between Pipo and Bettina; and they are rehearsing for Shanghai. Happy Shanghai! They do not yet know the Mascotte! Ephrinell and Miss Bluett are talking away with unusual animation, and I catch the end of the dialogue. "I am afraid," said she, "that hair will be rising in Pekin "
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