The lyric tenor is a lighter voice than the dramatic for the same reason that florid soprano is lighter than dramatic soprano. The cup space within the larynx is, comparatively speaking, small. Thus, while the head tones of the dramatic tenor are powerful and vibrant, the lyric tenor's head tones are lighter and more graceful, but are lacking in brilliant, resonant dramatic quality. A tenor like Jean de Reszke, who sang baritone for several years, must have a larynx somewhat larger than that of a genuine dramatic tenor, and his production of robust tenor notes in the head register must have required a most artistic series of adjustments of his voice tract throughout this entire register. But while it cannot be denied that Jean de Reszke was an artist in the truest sense of the term, it also cannot be denied that his high voice just lacked the true vibrant tenor quality and had a suspicion of baritone in it. Some tenors who cannot sing unusually high in head register are able to acquire what is known as falsetto, and even tenors who are not obliged to resort to falsetto sometimes employ it for special effects. Falsetto is produced by carrying the adjustment for head register to its extreme limit. Practically it is the artificial reproduction within the throat of an adult of the small larynx before the period of mutation. In singing falsetto the false vocal cords drop down to within a quarter of an inch of the true cords and even closer, reducing the cup space in the larynx to its dimensions before mutation. To secure a good quality of tone in falsetto the singer must have complete control of the cup space--be able to diminish it not only by allowing the false cords to drop down almost upon the vocal cords, but also by contracting it laterally. If he can do this, he can produce some genuinely artistic effects in falsetto. When a tenor cannot control the muscles that contract the cup space, his falsetto will be of a poor quality--a mere "dodge" to add some higher notes to those of his legitimate vocal range.