(5) Above this point head tones (5) Edges only of the vocal begin. bands in vibration; partial closure of the ligaments posteriorly (behind). It will be noted that Madame Seiler spoke of the vocal bands (cords) proper as the "ligamentous glottis," and included in the "glottis" the arytenoid cartilages themselves, or, at all events, that part of them, their lower anterior angles, known as the vocal processes (or extensions), to which the vocal bands proper are attached. The above tabular statement shows (1) that Madame Seiler recognized five registers for both male and female voices; (2) that she used the term "falsetto" in a sense different from its ordinary one. Usually this term is not applied at all to the female voice, but only to that special modification of the male voice seldom employed now, and almost never except by tenors. With this writer, "falsetto" as applied to female voices replaces "middle," in the commoner usage. [Illustration: FIG. 50. Tabular representation of Madame Seiler's division of the register.] Garcia, also, recognized five registers. Behnke, a teacher of singing, who practised laryngoscopy and auto-laryngoscopy in the investigation of the registers, used "lower thick," "upper thick," "lower thin," "upper thin," and "small," as answering to the "first chest," "second chest," etc., of Madame Seiler and others. Nearly all writers have used the term "break" to indicate the point at which a new register begins. Behnke held that the break between the thick and the thin register occurred in _both_ sexes at about [Illustration: f' f-sharp']. The vocal bands in this part of the scale vibrate in their entire breadth, and the series of tones above the point just referred to is produced by a new mechanism, but one which is the same for all voices and both sexes--_i.e._, only the inner edges of the vocal bands vibrate. According to Behnke, the male voice has but two registers, the thick and the thin, but the female voice three, the thick, the thin, and the small. These terms were not original with Behnke, but had been used earlier by Curwen. Behnke was emphatic on one point, to which we would call special attention, in his own words: "If there is _straining_ anywhere, it is during the attempt to carry the mechanism of the upper thick beyond its natural limit." Mackenzie (afterwards Sir Morell Mackenzie) held that "It is certain that however over-refined musicians may multiply the 'registers' of the voice, physiologically there are but two--_i.e._, 'chest' and 'head,' the falsetto of the man answering to the head production of women."