III. We have further seen that _only the transition from the chest register to the falsetto is in all voices at the same tones_, the fa fa♯ (f¹ f♯¹); but, both in men's and women's voices, the other _transitions of the registers are different_. As the male larynx is about a third larger than the female, it is plain that the registers in the male voice have a greater expansion. The transitions, however, in the tenor, as in the bass, are at the same tones, and only sometimes a half tone higher or lower in one voice than in another. The organs of the man are stronger and harder than those of the woman, and they are not often capable of producing tones with the vibrations of the edges of the vocal ligaments (falsetto tones), but the lower series of tones of the chest register has, in such voices, a much greater extension downwards. _The difference between the bass and tenor voices lies in the greater or less ease with which the tones of the higher or lower registers are sung, and in the greater fulness and beauty, always connected therewith, of the higher or lower register, that is, in the timbre of the voice_; not, as is commonly thought, in the difference of the transitions of the registers. The same is also the case with the female voice; _as well in the contralto as in the soprano voice the transitions of the registers are at the same tones_, and the difference of the voices lies only in the timbre, and in the greater facility with which the higher or lower tones are produced, and not in the different compass of the voice. The transitions of the registers are: IN THE MALE VOICE BASS VOICE First series of the chest register: C D E F G A B c d e f g a Second series: b c¹ d¹ e¹ f¹ TENOR VOICE First series of the chest register: G A B c d e f g a Second series: b c¹ d¹ e¹ f¹ First series of the falsetto: g¹ a¹, &c. IN THE FEMALE VOICE First series of the chest register: e f g a b c¹ Second series of the chest register: d¹ e¹ f¹ First series of the falsetto register: g¹ a¹ b¹ c² Second series of the falsetto register: d² e² f² Head register: g² a² b² c³ d³ e³ f³ The investigation and discovery of the facts here stated have been made with the utmost conscientiousness, repeated by men of science in Germany, and acknowledged as correct. PRACTICAL APPLICATION OF THESE OBSERVATIONS TO THE CULTIVATION OF THE SINGING VOICE