Have you ever wondered why it is harder to sing some pieces in tune than others? And why, when these pieces are raised a semitone, the problem disappears? Flatting seems particularly problematic in F major. Why? At least part of the answer to these questions lies in the relationship between vocal registers and tuning.
Admittedly, the subject of vocal registers is a controversial one. Experts do not even agree on how many registers there are, let alone the proper pedagogical approach to take for their development and coordination. Some divide the vocal range into three registers, some into two, and some avoid the term altogether or suggest that trying to understand the vocal range in terms of registers is to take a negative, problem-oriented approach. Thus, for instance, Victor Fields writes, “reference to vocal registers and register breaks should be avoided. The prevention of a ‘register break’ is more important than its cure.’ Nevertheless, since many singers complain of such “breaks” or “changing spots,” a realistic approach requires that choral directors recognize their existence and teach singers ways to deal with them.
As for the relationship between register shifts and tuning, a little experimentation with singers who have difficulty making the transition from one register to the next reveals an interesting connection.
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