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cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet edit-page menu__item--page-actions-edit"> <span class="minerva-icon minerva-icon--edit"></span> <span>Edit</span> </a> </li> </ul> </nav>  <div id="mw-content-subtitle"></div> </div> <div id="bodyContent" class="content"> <div id="mw-content-text" class="mw-body-content"><script>function mfTempOpenSection(id){var block=document.getElementById("mf-section-"+id);block.className+=" open-block";block.previousSibling.className+=" open-block";}</script><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><section class="mf-section-0" id="mf-section-0"> <p><b>Chest voice</b> is a term used within <a href="/wiki/Vocal_music" title="Vocal music">vocal music</a>. The use of this term varies widely within <a href="/wiki/Vocal_pedagogy" title="Vocal pedagogy">vocal pedagogical</a> circles. There is no consistent opinion among vocal music professionals regarding the term. Chest voice can be used in relation to: </p> <ul><li>A particular part of the <a href="/wiki/Vocal_range" title="Vocal range">vocal range</a> or type of <a href="/wiki/Vocal_register" title="Vocal register">vocal register</a><sup id="cite_ref-:1_1-0" class="reference"><a href="#cite_note-:1-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup></li> <li>A <a href="/wiki/Vocal_resonation" title="Vocal resonation">vocal resonance</a> area</li> <li>A specific vocal <a href="/wiki/Timbre" title="Timbre">timbre</a><sup id="cite_ref-McKinney_2-0" class="reference"><a href="#cite_note-McKinney-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup></li></ul> <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none"><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#History"><span class="tocnumber">1</span> <span class="toctext">History</span></a></li> <li class="toclevel-1 tocsection-2"><a href="#Physiological_process"><span class="tocnumber">2</span> <span class="toctext">Physiological process</span></a> <ul> <li class="toclevel-2 tocsection-3"><a href="#Laryngeal_registration_understanding"><span class="tocnumber">2.1</span> <span class="toctext">Laryngeal registration understanding</span></a></li> <li class="toclevel-2 tocsection-4"><a href="#Vocal_resonance_understanding"><span class="tocnumber">2.2</span> <span class="toctext">Vocal resonance understanding</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-5"><a href="#Acoustic_buzz"><span class="tocnumber">3</span> <span class="toctext">Acoustic buzz</span></a></li> <li class="toclevel-1 tocsection-6"><a href="#See_also"><span class="tocnumber">4</span> <span class="toctext">See also</span></a></li> <li class="toclevel-1 tocsection-7"><a href="#Notes_and_references"><span class="tocnumber">5</span> <span class="toctext">Notes and references</span></a></li> </ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(1)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="History">History</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Chest_voice&action=edit&section=1" title="Edit section: History" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-1 collapsible-block" id="mf-section-1"> <p>The first recorded mention of the term chest voice was around the 13th century, when it was distinguished from the <a href="/wiki/Throat_voice" class="mw-redirect" title="Throat voice">throat</a> and the <a href="/wiki/Head_voice" title="Head voice">head voice</a> (<a href="/wiki/Pectoris,_guttoris,_capitis" class="mw-redirect" title="Pectoris, guttoris, capitis">pectoris, guttoris, capitis</a>—at this time it is likely head voice referred to the <a href="/wiki/Falsetto" title="Falsetto">falsetto register</a>) by the writers Johannes de Garlandia and <a href="/wiki/Jerome_of_Moravia" title="Jerome of Moravia">Jerome of Moravia</a>.<sup id="cite_ref-groveONE_3-0" class="reference"><a href="#cite_note-groveONE-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> The term was later redefined during the <a href="/wiki/Bel_canto" title="Bel canto">bel canto</a> period when it was identified as the lowest of three vocal registers: the chest, <a href="/wiki/Passaggio" title="Passaggio">passaggio</a> and <a href="/wiki/Head_voice" title="Head voice">head registers</a>. This approach is still taught by some vocal pedagogists.<sup id="cite_ref-Stark_4-0" class="reference"><a href="#cite_note-Stark-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p><p>However as knowledge of human anatomy has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists have redefined or even abandoned the use of the term chest voice.<sup id="cite_ref-Stark_4-1" class="reference"><a href="#cite_note-Stark-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> In particular, the use of the term <b>chest register</b> has become controversial since <a href="/wiki/Vocal_register" title="Vocal register">vocal registration</a> is more commonly seen as a product of <a href="/wiki/Larynx" title="Larynx">laryngeal</a> function that is unrelated to the anatomy of the chest and lungs. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest. The vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to <a href="/wiki/Vocal_resonation" title="Vocal resonation">vocal resonance</a>, not to registers. These vocal pedagogists prefer the term "chest voice" over the term "chest register". These vocal pedagogists also hold that many of the problems which people identify as register problems are really problems of resonance adjustment. This helps to explain the controversy over this terminology. Also, the term chest register is not used within <a href="/wiki/Speech_and_language_pathology" class="mw-redirect" title="Speech and language pathology">speech pathology</a> and is not one of the four main vocal registers identified by speech pathologists. For the purposes of this article, the term "chest voice" is adopted as it is less controversial.<sup id="cite_ref-McKinney_2-1" class="reference"><a href="#cite_note-McKinney-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>The contemporary use of the term chest voice often refers to a specific kind of vocal coloration or vocal timbre. In classical singing, its use is limited entirely to the lower part of the <a href="/wiki/Modal_voice" title="Modal voice">modal register</a> or normal voice. Chest timbre can add a wonderful array of sounds to a singer’s vocal interpretive palette. The introduction of chest timbre is common to singers trained in the historic Italian school, but largely shunned among singers who have emerged from the Nordic/Germanic tradition. Such approval or disapproval is largely an aesthetic decision.<sup id="cite_ref-Miller_5-0" class="reference"><a href="#cite_note-Miller-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> However, the use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration.<sup id="cite_ref-oxfordDictOperaOne_6-0" class="reference"><a href="#cite_note-oxfordDictOperaOne-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(2)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Physiological_process">Physiological process</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Chest_voice&action=edit&section=2" title="Edit section: Physiological process" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-2 collapsible-block" id="mf-section-2"> <p>As the opinions on what exactly chest voice is vary greatly, there is no one consensus on the physiological production of chest voice. However, there is a developing body of scientific knowledge regarding the production of various definitions of chest voice: </p> <div class="mw-heading mw-heading3"><h3 id="Laryngeal_registration_understanding">Laryngeal registration understanding</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Chest_voice&action=edit&section=3" title="Edit section: Laryngeal registration understanding" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Electroglottographic_Wavegram.png" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Electroglottographic_Wavegram.png/220px-Electroglottographic_Wavegram.png" decoding="async" width="220" height="251" class="mw-file-element" data-file-width="963" data-file-height="1100"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 251px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Electroglottographic_Wavegram.png/220px-Electroglottographic_Wavegram.png" data-width="220" data-height="251" data-mw-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Electroglottographic_Wavegram.png/330px-Electroglottographic_Wavegram.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Electroglottographic_Wavegram.png/440px-Electroglottographic_Wavegram.png 2x" data-class="mw-file-element"> </span></a><figcaption>EGG graph indicates vocal fold vibration between the time 0.90 to 1 (seconds). Darker areas refer to closed positioning of vocal folds and lighter areas refer to open positioning which in turn allows us to determine closed quotient ratio.</figcaption></figure> <p>This viewpoint considers “chest voice” as the result of <a href="/wiki/Phonation" title="Phonation">phonation</a> where <a href="/wiki/Thyroarytenoid_muscle" title="Thyroarytenoid muscle">thyroarytenoid muscle</a> function heavily dominates <a href="/wiki/Cricothyroid_muscle" title="Cricothyroid muscle">cricothyroid muscle</a> function.<sup id="cite_ref-:0_7-0" class="reference"><a href="#cite_note-:0-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> It is generally also characterized by a higher closed quotient value (a quotient of how long the vocal folds are touching to how long the cycle of vibration lasts) than “<a href="/wiki/Head_voice" title="Head voice">head voice</a>”.<sup id="cite_ref-:1_1-1" class="reference"><a href="#cite_note-:1-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> A closed quotient ratio obtained by EGG (<a href="/wiki/Electroglottograph" title="Electroglottograph">Electroglottography</a>) around %65 and above is considered as a full chest singing (adducted chest voice) and a result around %48 can be viewed as a lyrical style singing (abducted chest voice).<sup id="cite_ref-:1_1-2" class="reference"><a href="#cite_note-:1-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Vocal_resonance_understanding">Vocal resonance understanding</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Chest_voice&action=edit&section=4" title="Edit section: Vocal resonance understanding" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><p> This view believes that the chest voice is a product not of <a href="/wiki/Vocal_register" title="Vocal register">vocal registration</a> but <a href="/wiki/Vocal_resonation" title="Vocal resonation">vocal resonation</a>. Opinions within this understanding vary. Although some pedagogists believe the chest is an effective resonator, most agree that chest voice actually resonates in the vocal tract while creating vibratory sensations in the chest. French otolaryngologist and phoniatrist <a href="/w/index.php?title=Jean_Tarneaud&action=edit&redlink=1" class="new" title="Jean Tarneaud (page does not exist)">Jean Tarneaud</a><span class="noprint" style="font-size:85%; font-style: normal;"> [<a href="https://fr.wikipedia.org/wiki/Jean_Tarneaud" class="extiw" title="fr:Jean Tarneaud">fr</a>]</span> says, </p><blockquote> <p>"during singing, the vibration of the <a href="/wiki/Vocal_folds" class="mw-redirect" title="Vocal folds">vocal folds</a> impresses periodic shakes on the <a href="/wiki/Larynx" title="Larynx">laryngeal</a> cartilage which transmits them to the bones in the <a href="/wiki/Thorax" title="Thorax">thorax</a> via the laryngeal depressors, and to the bony structures in the head via the laryngeal elevators. Singers feel these shakes in the form of thoracic and facial vibrations". </p> </blockquote> <p>These internal <a href="/wiki/Phonation" title="Phonation">phonatory</a> sensations produced by laryngeal vibrations are called "resonance" by singers and teachers of singing.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p><p>During singing in the lower register, the <a href="/wiki/Larynx" title="Larynx">larynx</a> is lowered since the muscles which connect it to the rib cage are tensed whereas the muscles above the larynx are not tensed. Consequently, a large proportion of the vibratory energy is transmitted to the thoracic area, giving singers the impression that their voice is resonating in the chest. This impression, however, is false. The chest by virtue of its design and location can make no significant contribution to the resonance system of the voice. The chest is on the wrong side of the <a href="/wiki/Vocal_folds" class="mw-redirect" title="Vocal folds">vocal folds</a> and there is nothing in the design of the lungs that could serve to reflect sound waves back toward the <a href="/wiki/Larynx" title="Larynx">larynx</a>.<sup id="cite_ref-McKinney_2-2" class="reference"><a href="#cite_note-McKinney-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(3)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Acoustic_buzz">Acoustic buzz</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Chest_voice&action=edit&section=5" title="Edit section: Acoustic buzz" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-3 collapsible-block" id="mf-section-3"> <p>Singing voice produces harmonics (a.k.a. buzz).<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> The intended fundamental frequency along with the harmonics is known as pitch construct. Tenor, baritone, bass, alto, mezzo-soprano singers produce pro-dominant harmonics during singing when they perform in full chest voice. This allows us to determine if a voice is produced via full chest singing simply looking at the spectrogram. Sopranos and countertenors mainly produce the first four harmonics strongly and these harmonics are counted as a pure part of the pitch construct. Spectrogram images of a soprano or a countertenor indicate the strongest first four harmonics in full chest singing. </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(4)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="See_also">See also</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Chest_voice&action=edit&section=6" title="Edit section: See also" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-4 collapsible-block" id="mf-section-4"> <ul><li><a href="/wiki/Head_voice" title="Head voice">Head voice</a></li> <li><a href="/wiki/Tessitura" title="Tessitura">Tessitura</a></li> <li><a href="/wiki/Vocal_register" title="Vocal register">Vocal register</a></li> <li><a href="/wiki/Vocal_resonation" title="Vocal resonation">Vocal resonation</a></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(5)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Notes_and_references">Notes and references</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Chest_voice&action=edit&section=7" title="Edit section: Notes and references" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-5 collapsible-block" id="mf-section-5"> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-:1-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-:1_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:1_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:1_1-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFHerbstTernströmŠvec2009" class="citation journal cs1">Herbst, C. T.; Ternström, S.; Švec, J. G. (2009). "Investigation of Four Distinct Glottal Configuration in Classical singing - A Pilot Study". <i>Journal of the Acoustical Society of America</i>. <b>125</b> (3): <span class="nowrap">104–</span>109. <a href="/wiki/Bibcode_(identifier)" class="mw-redirect" title="Bibcode (identifier)">Bibcode</a>:<a rel="nofollow" class="external text" href="https://ui.adsabs.harvard.edu/abs/2009ASAJ..125L.104H">2009ASAJ..125L.104H</a>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1121%2F1.3057860">10.1121/1.3057860</a>. <a href="/wiki/PMID_(identifier)" class="mw-redirect" title="PMID (identifier)">PMID</a> <a rel="nofollow" class="external text" href="https://pubmed.ncbi.nlm.nih.gov/19275279">19275279</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+the+Acoustical+Society+of+America&rft.atitle=Investigation+of+Four+Distinct+Glottal+Configuration+in+Classical+singing+-+A+Pilot+Study&rft.volume=125&rft.issue=3&rft.pages=%3Cspan+class%3D%22nowrap%22%3E104-%3C%2Fspan%3E109&rft.date=2009&rft_id=info%3Apmid%2F19275279&rft_id=info%3Adoi%2F10.1121%2F1.3057860&rft_id=info%3Abibcode%2F2009ASAJ..125L.104H&rft.aulast=Herbst&rft.aufirst=C.+T.&rft.au=Ternstr%C3%B6m%2C+S.&rft.au=%C5%A0vec%2C+J.+G.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AChest+voice" class="Z3988"></span></span> </li> <li id="cite_note-McKinney-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-McKinney_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-McKinney_2-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-McKinney_2-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcKinney1994" class="citation book cs1">McKinney, James (1994). <i>The Diagnosis and Correction of Vocal Faults</i>. Genovex Music Group. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56593-940-0" title="Special:BookSources/978-1-56593-940-0"><bdi>978-1-56593-940-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Diagnosis+and+Correction+of+Vocal+Faults&rft.pub=Genovex+Music+Group&rft.date=1994&rft.isbn=978-1-56593-940-0&rft.aulast=McKinney&rft.aufirst=James&rfr_id=info%3Asid%2Fen.wikipedia.org%3AChest+voice" class="Z3988"></span></span> </li> <li id="cite_note-groveONE-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-groveONE_3-0">^</a></b></span> <span class="reference-text"><i><a href="/wiki/The_New_Grove_Dictionary_of_Music_%26_Musicians" class="mw-redirect" title="The New Grove Dictionary of Music & Musicians">The New Grove Dictionary of Music & Musicians</a></i>. Edited by <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Stanley Sadie</a>, <i>Volume 6. Edmund to Fryklund</i>. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-56159-174-2" title="Special:BookSources/1-56159-174-2">1-56159-174-2</a>, Copyright Macmillan 1980.</span> </li> <li id="cite_note-Stark-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-Stark_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Stark_4-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStark2003" class="citation book cs1">Stark, James (2003). <i>Bel Canto: A History of Vocal Pedagogy</i>. <a href="/wiki/University_of_Toronto_Press" title="University of Toronto Press">University of Toronto Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8020-8614-3" title="Special:BookSources/978-0-8020-8614-3"><bdi>978-0-8020-8614-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bel+Canto%3A+A+History+of+Vocal+Pedagogy&rft.pub=University+of+Toronto+Press&rft.date=2003&rft.isbn=978-0-8020-8614-3&rft.aulast=Stark&rft.aufirst=James&rfr_id=info%3Asid%2Fen.wikipedia.org%3AChest+voice" class="Z3988"></span></span> </li> <li id="cite_note-Miller-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-Miller_5-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMiller2004" class="citation book cs1"><a href="/wiki/Richard_Miller_(singer)" title="Richard Miller (singer)">Miller, Richard</a> (2004). <i>Solutions for Singers</i>. <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-516005-5" title="Special:BookSources/978-0-19-516005-5"><bdi>978-0-19-516005-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Solutions+for+Singers&rft.pub=Oxford+University+Press&rft.date=2004&rft.isbn=978-0-19-516005-5&rft.aulast=Miller&rft.aufirst=Richard&rfr_id=info%3Asid%2Fen.wikipedia.org%3AChest+voice" class="Z3988"></span></span> </li> <li id="cite_note-oxfordDictOperaOne-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-oxfordDictOperaOne_6-0">^</a></b></span> <span class="reference-text"><i>The Oxford Dictionary of Opera</i>. <a href="/wiki/John_Warrack" title="John Warrack">John Warrack</a> and Ewan West, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-869164-5" title="Special:BookSources/0-19-869164-5">0-19-869164-5</a></span> </li> <li id="cite_note-:0-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-:0_7-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHerbstŠvec2014" class="citation journal cs1">Herbst, C. 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