The upper limits of a bass and baritone voice are
where, consequently, the tones must be mixed. Pure head tones, that is, falsetto, are never demanded higher than this. I regard it, however, as absolutely necessary for the artist to give consideration to his falsetto, that he may include it among his known resources. Neither a bass nor a baritone should neglect to give it the proper attention, and both should learn to use it as one of their most important auxiliary forces.
With what mastery did Betz make use of it; how noble and beautiful his voice sounded in all its ranges; of what even strength it was, and how infallibly fresh! And let no one believe that Nature gave it to him thus. As a beginner in Berlin he was quite unsatisfactory. He had the alternative given him either to study with great industry or to seek another engagement, for his successor had already been selected. Betz chose to devote himself zealously to study; he began also to play the 'cello; he learned to _hear_, and finally raised himself to be one of our first singers, in many rôles never to be forgotten. Betz knew, like myself, many things that to-day are neither taught nor learned.
EXTENSION OF THE COMPASS AND EQUALIZATION OF REGISTERS
The whole secret of both consists in the proper raising and lowering of the soft palate, and the pillars of the fauces connected with it. This divides into two resonating divisions the breath coming from the source of supply, and forced against the chest, whereby it is put under control, as it escapes vocalized from the larynx. It consists also in the singer's natural adaptability and skill, in so placing the palate and resonance of the head cavities, or keeping them in readiness for every tone, as the pitch, strength, and duration of the individual tones or series of connected tones, with their propagation form, shall demand.
Big voices, produced by large, strong organs, through which the breath can flow in a broad, powerful stream, are easily disposed to suffer from the tremolo, because the outflow of the breath against the vocal cords occurs too _immediately_. The breath is sent directly out from the lungs and the body, instead of being driven by the abdominal pressure forward against the chest and the controlling apparatus. Not till this has been done, should it be admitted, in the smallest amounts, and under control to the vocal cords. It does not pause, but streams through them without burdening them, though keeping them always more or less stretched, in which the muscular power of contraction and relaxation assists. Streaming _gently_ out from the vocal cords, it is now led, with the support of the tongue, to its resonance chambers, all the corners of which it fills up equally. Even the strongest vocal cords cannot for any length of time stand the uncontrolled pressure of the breath. They lose their tension, and the result is the tremolo.