Assembling a Vocal “Eiffel Tower” to Improve the Quality of the Singing Voice

The human voice consists of two major registers: the lower voice, which is regarded as “the chest voice”, and the upper voice, which is regarded as “the head voice”. The lower voice is mainly utilised for normal speech, whilst the activity of singing is more based upon the upper voice. There is an upper section of the “head voice” that is known as “falsetto” and a bridge toward the “whistle” vocal register. There are three general categories of the human singing voice. In males, the three categories are generally known as Bass, Baritone and Tenor, whilst in female voice, the three categories of singing voice are generally known as: Alto, Mezzo-Soprano and Soprano. The determination of the human vocal range is usually done via an assessment of the utilised vocal registries within specific ranges of musical notes from a piano (i.e. C0 - C7, 8 octaves => 64 whole notes, with 38 intermediary notes), and based on the equilibrium of lower-upper vocal registry utilisation in the process. For example, if a lower musical note is hit with the upper vocal registry, then the user is deemed to have a lower vocal range. On the other hand, if a higher musical note is hit with the lower vocal register, then the user is deemed to have a higher vocal range. Furthermore, vocal range is known to be fluid, in accordance to the level of vocal training, as users reported that their vocal ranges widened significantly following extensive, long-term training. The human voice is overall regarded as a musical instrument that has been utilised since the beginning of human history and, as with any musical instrument, the present study emphasises upon the importance of a proportional training of the human voice to ensure that the utmost potential in singing abilities is reached through a thorough, long-term and careful extent of vocal training, exercises, as well as considerable durations of vocal rest in between. The present study compares the long-term development of the human singing voice with the patterns behind the assembly of the Eiffel Tower, which occurred in three stages to create a structure composed of two exponentially-growing curves intersecting with each other at the top, given that it is in a similar manner that the singing voice is developed, with the human voice becoming exponentially more capable of hitting high notes as a result of the training of the head voice (i.e. second section of the Eiffel Tower) and even of the “whistle” register (i.e. third, top section of the Eiffel Tower), with the three human passagios resembling the three levels separating the three sections of the Tower. Such an analogy would support teenage users in resolving puberty-generated vocal gaps and proportionally reflect the theory in which the range of the upper voice expands by 3 quarters of a tone during each training phase displaying a threshold level of both quality and duration, resulting in the R squared value equating to 0.92 (p value < 0.01). With each round of accurate vocal training, a phenomenon occurs in which “a vocal mix” occurs and its quality continuously increases. Such a “mixing” process implicates the reversion of the vocal foundations, in which the random human voice has its foundation changed, from a lower, speaking register, to a higher, singing register. Some vocalists and researchers may describe such contexts in a few words “pulling the voice reversely”, by basing the human voice upon the “head” voice, rather than the “chest” voice, to avoid phenomena of “vocal straining” and “breaks”. Principles of human psychology, as well as emotional and physical wellbeing can apply to effective methods of singing vocal development, meaning that motivation plays a significant role in ensuring a long-term state of vocal progress. The overall manuscript suggests that the successful assembly of the singing human voice reflects the assembly of the Eiffel Tower’s structure, hypothesising that the extension of the human vocal range reflects a two-phase exponential growth model.