But mature activists speak in the middle voice, which is receiving and volleying, listening and responding, the voice of equal and intimate relationship.
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Ms. Thurber, who eventually left the high school, stayed in touch, recruiting them first for MCC's youth company and then bringing them to Middle Voice, the apprentice company she formed at Rattlestick Playwrights Theater.
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TheaterJam, a one-day theater festival, New Songs Now, a concert series, and previews of works in progress from Rattlestick's apprentice company, Middle Voice, are all slated for the upcoming season, along with a weeklong festival of staged readings.
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In Hellenistic era Greek, middle voice is often replaced by active voice with reflexive pronouns. This means that the middle voice verbs that remain are less likely to be true reflexive voice than in Attic Greek, and the majority of New Testament middle voice verb usage comes into other categories. Among those other uses is the use of middle voice as an approximation to causative.Stanley E. Porter, Anthony R. Cross Dimensions of baptism: biblical and theological studies 2002 p.
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Colognian conjugation has the voices: active and passive. Also, there is the reflexive which combines middle voice and mediopassive.
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The mediopassive voice is a grammatical voice that subsumes the meanings of both the middle voice and the passive voice.
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Its function varies little from language to language, essentially serving as an indicator of (middle) voice and valence for the verb.
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Max Beckschäfer composed a three- part vocal setting (SSA) with optional organ in 2012, with the melody in the middle voice.
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Other strong aorists are () "I came", () "I took", () "I said", () "I ate"; and in the middle voice () "I became" and () "I arrived".
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Hodgson (1857) reported a middle voice formed by a suffix -s(i) added to the verbal stem, corresponding to reflexives in other Kiranti languages.
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Some languages (such as Albanian, Bengali, Fula, Tamil, Sanskrit, Icelandic, Swedish, Biblical Hebrew, Modern Hebrew and Ancient Greek) have a middle voice, which is a set of inflections or constructions which is to some extent different from both the active and passive voices. In some cases, the middle voice is any grammatical option where the subject of a material process cannot be categorized as either an Actor (someone doing something) or a Goal (that at which the actor aims their work). For example, while the passive voice expresses a Medium (Goal) being affected by an external Agent (Actor) as in The casserole was cooked in the oven, the middle voice expresses a Medium undergoing change without any external Agent The casserole cooked in the oven. In English, the inflections and constructions for middle voice and active voice are the same for these cases.
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Verbs mark person and number of core arguments. It has split S morphology and active/middle voice distinction. Verbs also mark one of fourteen TAM categories.
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Opening of the Agnus Dei II from the Missa L'homme armé super voces musicales. The movement consists of a three-out-of-one mensuration canon. The middle voice is the slowest; the lowest voice sings at twice the speed of the middle voice, and the top voice at three times the speed. The first four notes of the canon are shown connected by lines of the same color.
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Siwai has four types of valency structure: :(a) plain transitives take A and O :(b) extended transitives take A, O, and E :(c) plain intransitives take S :(d) extended intransitives take S and E Some verbs are ambitransitive and take either active or middle voice. The voice system of the language is thus a "verbal diathesis" where the configuration of core arguments determine the active or middle voice.
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The stem of the first aorist is often marked by in the active and middle voice, and in the passive voice. Because of the (sigma), it is also called sigmatic aorist.
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In a similar manner, -nexʷ indicates a lack of control. There is additionally a middle voice in which the suffix -eŋ marks the agent of the verb. If no patient is mentioned in the middle voice, it is assumed that the patient and the agent are the same, as in an action being done to oneself. For example, ćáɁkʷeŋ cn would usually be taken to mean "I washed myself", but it is subject to some ambiguity, as it could also mean "I washed (regularly)" or "I did some washing".
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In other cases such as in Classical Greek, the middle voice is often used for material processes where the Subject is both the Actor (the one doing the action) and the Medium (that which is undergoing change) as in "the man got a shave", opposing both active and passive voices where the Medium is the Goal as in "the barber shaved the man" and "the man got shaved by the barber". Finally, it can occasionally be used in a causative sense, such as "The father causes his son to be set free", or "The father ransoms his son". In English there is no verb form for the middle voice, though some uses may be classified by traditional grammarians as middle voice, often resolved via a reflexive pronoun, as in "Fred shaved", which may be expanded to "Fred shaved himself" – contrast with active "Fred shaved John" or passive "John was shaved by Fred". This need not be reflexive, as in "my clothes soaked in detergent overnight".
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Love’s vocal method focuses on diaphragmatic breathing, daily vocal exercises, and bridging the head voice and chest voice via the “middle voice”. Love analyzes his clients’ voices by asking them to sing a musical scale that includes very low and very high notes.
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In November 2017, she released a third solo album, Middle Voice, followed with some performances. Fenner recorded it with long-time musical collaborator Tony Scherr. Musical contributors to the recording include Bill Frisell, Jason Moran, Norah Jones, Chris Brown, and Tony Scherr.
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Hartford: Published by Silas Andrus & Son, 1855 and was republished as The Philadelphia and New York Glee Book in 1864. He published The Middle Voice, 12 solfeggi, in London in 1860, and various separate songs by him were published in England and America.
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Hungarian uses active forms not only in the active sense (e.g. "He opened the door") and in the middle voice sense (e.g. "The door opened"), but also to express the passive (e.g. "The door was opened by Jane"), with the third person plural active form.
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"'" (Winter night) is an art song for voice and piano composed by Richard Strauss in 1886, setting a poem of the same title by the German poet Adolf Friedrich von Schack (1815–1894). The song is part of his collection Five songs for middle voice and piano, Op. 15, TrV 148.
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In Sanskrit, the optative is formed by adding the secondary endings to the verb stem. The optative, as other moods, is found in active voice and middle voice. Examples: ' "may you bear" (active) and ' "may you bear [for yourself]" (middle). The optative may not only express wishes, requests and commands, but also possibilities, e.g.
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She published well-regarded papers in the LSA's journal, Language, as well as in the American Journal of Philology (AJP) and Classical Philology (CP). She was known as an authority on the Indo- European middle voice (Claflin 1929, 1938, 1942, 1946). The Linguistic Circle of New York established an Edith Claflin Memorial Fund in her honor in 1952.
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As with the inherent part of speech of a root, this is not apparent from the shape of the verb and must simply be memorized. Transitivity is changed with the suffixes -ig- (the transitivizer/causative) and -iĝ- (the intransitivizer/middle voice): :akvo bolas je cent gradoj (water boils at 100 degrees) :ni boligas la akvon (we boil the water).
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The Chosen Garden, which appeared in 1990, he himself described as "an effort to face my own journey, to comprehend and trace one's own tiny epic". In 1992 he published Hail! Madam Jazz: New and Selected Poems which includes the new sequence The Middle Voice. In 1995 came A Fragile City, which is a meditation in four parts on the theme of trust.
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Sanskrit has active, middle and passive voices. As the passive is a secondary formation (based on a different stem with middle endings), all deponent verbs take middle-voice forms, such as सच॑ते sác-ate. Traditional grammar distinguishes three classes of verbs: ‘parasmaipadinaḥ’ (having active forms only), ‘ātmanepadinaḥ’ (having middle forms only) and ‘ubhayapadinaḥ’ (having both forms). Thus, ‘ātmanepadī’ (plural ātmanepadinaḥ) might be considered a deponent verb.
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The middle voice falls in-between the chest voice and head voice. The head register, or the head voice, is the highest of the main vocal registers. When singing in the head voice, the singer may feel sympathetic vibration occurring in the face or another part of the head. Where these registers lie in the voice is dependent on sex and the voice type within each sex.
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Middle voice forms can also be created from some plain verbs by adding -ódik/-ődik, e.g. íródik "get written" (from ír "write"), ütődik "get hit" (from üt "hit"). These active/middle pairs comprise a considerable part among Hungarian verbs. In the perfect, there is a third way to express passive meaning: the existential verb van (see van (to be)) plus the adverbial participle ending in -va/-ve (see Adverb derivation), e.g.
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That melody has already appeared in the middle voice during the exposition of Excerpt 10. Repeated modulation prevents an obvious determination of tonality, though the key signature is C major. After the climax of the middle part, Excerpt 9 is recapitulated in ppp. This third part is not a simple reemerging of the first part; it is rather shortened and it includes elements of the second part in Poco Animato.
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From 1934 to 1938 Duhan was a member of the Federal Cultural Council as a representative of the art group, designed programmes for "patriotic events" and was closely associated with Ernst Rüdiger Starhemberg and the Heimwehr. In 1919 Wilhelm Kienzl dedicated his Op. 96 to him. Aus des Volkes Wunderhorn. A collection of fifteen folk poems, set to music for a middle voice with piano accompaniment by Wilhelm Kienzl.
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Ancient Greek has middle-voice deponents (some of which are very common) and some passive-voice deponents. An example in classical Greek is (, 'I come' or 'I go'), middle/passive in form but active in translation. Some 'active' verbs will take middle-form futures, such as how (, 'I hear') becomes (, 'I will hear'), rather than the regular adding of a sigma (like (, 'I stop') becoming (, 'I will stop')). These are still active in translation.
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The mediopassive is found in some contemporary Scandinavian languages like Danish, Swedish, and Norwegian (whereas for example Icelandic keeps up a formal distinction between the middle and the passive). The examples below are from Danish, but the situation is the same in Swedish and Norwegian. The passive use of the Danish mediopassive is probably predominant, but the medial use is quite frequent as well. Here are examples of sub-categories of the middle voice.
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Libido (also known as Mareqo, Mareko) is an Afroasiatic language of Ethiopia, which is spoken in the Mareko district Gurage Zone of the Southern Nations, Nationalities, and People's Region, directly south-east of Butajira. It has about 64,000 native speakers (2007 census). It is closely related to Hadiyya (a dialect per Blench 2006) within the Highland East Cushitic languages. Its syntax is SOV; its verb has passive, reflexive and causative constructions, as well as a middle voice.
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Harmonic reduction (bars 1–9) after Hugo Leichtentritt Musicologist Hugo Leichtentritt (1874–1951) describes the three- (and sometimes four-) voice texture thus: "A melody of painful, elegiac expression over a slow, almost sluggish, bass, in-between a winding middle voice [in sixteenth notes] which, despite its narrow range adds a great inner agitation."Leichtentritt, p. 112 A characteristic trait of the melody are the chromatic auxiliary notes played on the beat and approached by disjunct motion.Collet, Robert.
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For example, Megvizsgálják a gyereket literally means "They examine the child", but it is more commonly meant like "The child is examined". The fact that this sentence behaves like a passive voice is shown by the fact that the above (third person plural) form can be used even when only one agent is meant (i.e., the child is examined by one doctor). Another means to express the passive meaning is using middle voice lexical forms or unaccusative verbs, e.g.
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The fugue is 85 bars long, and is written for 3 voices. Below is the 4-measure subject of the fugue: The first four bars of the fugue. Just like most fugues in the baroque period, the subject is then repeated in the middle voice in the dominant key (C minor), and then repeated once more in the lowest voice, again in the home key. This final repetition of the subject is followed a small episode that consists of a descending fifths sequence.
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Athabaskan languages like Babine-Witstuwitʼen make use of two main argument transferring morphemes known as classifiers. However, the term classifier is recognized among Athabaskanists as a misnomer; voice and valence markers are more appropriate descriptors. Each lexical entry of Witsuwitʼen verbs features a lexicalized voice/valence marker fused with the verb stem, though this element sometimes appears as zero. The classifiers [ɬ] and [d] regulate transitivity: [ɬ] increases transitivity by creating causatives and the [d] classifier lowers transitivity to create middle voice.
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The Attack at the Lower Sioux Agency was the initial action of the Dakota War of 1862 in August. After the initial conflict at Acton Township, Minnesota on August 17, in which five white settlers were killed, tensions were running high within the Lower Sioux tribe. The Sioux or Dakota feared that the murders would bring about a reprisal from United States forces. Chiefs Shakopee and Red Middle Voice convened a council at Little Crow's village near the Lower Sioux Agency to discuss the situation.
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The fugue is 31 bars long, and is written for 3 voices. Below is the two measure subject of the fugue, which starts in the middle voice: The subject of the fugue. Just like most fugues in the baroque period, the subject is then repeated in the top voice in the dominant key (G minor), and then repeated once more in the lowest voice, again in the home key. The fugue then continues with a development, and then another repetition of the subject in the home key.
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Rather, he sees a correspondence between the upper voices of the Vivace and the Adagio together with the bass of the Vivace on the one hand (E–D–C–B–A–G–B–E) and the middle voice in the left hand of the Adagio on the other (D–E–F–G–A–C–D–E). Jürgen Uhde and Richard Rosenberg point out a similarity between the opening theme of the present sonata and that of the Vivace movement of the Sonata in G major, Op. 79.
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The second instrument is used in modern brass bands and marching bands, and is more accurately called a "marching mellophone" or mellophone. A derivative of the F alto horn, it is keyed in F. It is shaped like a flugelhorn, with piston valves played with the right hand and a forward-pointing bell. These horns are generally considered better marching instruments than regular horns because their position is more stable on the mouth, they project better, and they weigh less. It is primarily used as the middle voice of drum and bugle corps.
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Until 40,000 years ago, it flowed into the Pacific Ocean near Tomakomai. Lava from the volcanic Shikotsu mountains dammed the river and moved its mouth to the Ishikari Bay. The name of the river is derived from the Ainu for "make(s) itself go round about something" (i-si-kari < kari meaning "(to be a) circle, round, loop; spin, turn, go around, go back and forth," si- "reflexive prefix, itself, oneself," and i- "it, something, an impersonal third person object marking prefix, middle voice inflection prefix), i.e. "winding (river).
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One widely applauded and popular 1962 addition was the contrabass, the biggest horn and lowest voice, two octaves below the soprano, which partially rests on the shoulder. The mellophone or mellophonium was introduced soon after, and was quickly popular for its capability of soaring above the rest of the bugle section. However it did not supplant the French horn, which remained the dominant middle voice. Other less-popular bugle types introduced in the 1960 included herald bugles, euphoniums, pistonless slide sopranos and piccolo bugles or "angel bugles" pitched an octave above the sopranos.
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The second instrument is used in modern brass bands and marching bands, and is more accurately called a "marching mellophone" or mellophone. A derivative of the F alto horn, it is keyed in F. It is shaped like a flugelhorn, with piston valves played with the right hand and a forward-pointing bell. These horns are generally considered better marching instruments than regular horns because their position is more stable on the mouth, they project better, and they weigh less. It is primarily used as the middle voice of drum and bugle corps.
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The chords are created by the movement of the three voices: the low voice starts at C#; the high voice starts at E. Both the low and high voices are moved up or down the D harmonic minor scale at the same time, with the direction of the movement depending on the position within the sequence. The middle voice starts at A and plays a different pattern (A, E, E, C, C, C, C, A, A, E, E, C, C, A). The generated chords create harmonic ambiguity, since both C# and C are present, yielding an A major or A minor feel.
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'; 'enter', 'put in', 'she puts in'; 'learn', 'teach', 'I teach'. ; Autobenefactive voice : The Oromo autobenefactive (or "middle" or "reflexive-middle") voice of a verb V corresponds roughly to English expressions such as 'V for oneself' or 'V on one's own', though the precise meaning may be somewhat unpredictable for many verbs. It is formed by adding -adh to the verb root. The conjugation of a middle verb is irregular in the third person singular masculine of the present and past (-dh in the stem changes to -t) and in the singular imperative (the suffix is -u rather than -i).
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The second instrument is used in modern brass bands and marching bands, and is more accurately called a "marching mellophone" or simply "mellophone". A derivative of the F alto horn, it is usually keyed in F, occasionally in G. It is shaped like a flugelhorn, with piston valves played with the right hand and a forward-pointing bell. These horns are generally considered better marching instruments than regular horns because their position is more stable on the mouth, they project better, and they weigh less. It is primarily used as the middle voice of drum and bugle corps.
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When marked by the morpheme qə-, it is used to express the indicative, but when it is not thus marked, it expresses the subjunctive. The subjunctive is most commonly used to indicate wishes, possibilities, obligations, and any other statements which may be contrary to present fact. As in the other Semitic languages, the subjunctive must be used in the place of the imperative for all negative commands and prohibitions. In Neo-Mandaic, the relationship of the action or state described by the verb to its arguments can be described by one of three voices: active, middle voice, and passive.
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She had complete mastery of runs, trills, staccati and vocal ornaments of all kinds. She also had a brilliant upper register, extending to F above high C. Unlike many other coloratura sopranos, such as Amelita Galli- Curci, Tetrazzini's high notes were not thin and delicate, but full, powerful and ringing. On the debit side of the ledger, her vocal registers were not as well-integrated as those belonging to her direct soprano rival, Nellie Melba. Also, although her lower register was strong, her middle voice was comparatively thin or 'white' in tone, with a quality which some American and English critics described as "infantile" and "child-like".
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Richard Bonynge selected Bradman to sing the title role in a performance of Handel's Rodelinda in 2014.Classic Melbourne Rodelinda review by Heather Leviston, Classic Melbourne, "With a dark mezzo quality in her middle voice and an ability to float her voice when singing soft sustained notes and intricate coloratura passages, she was at times uncannily similar in vocal quality to Sutherland." Bradman was the subject of two episodes of the ABC TV program Australian Story in 2015."Being Bradman – Part One", 27 July 2015; "Part Two", 3 August 2015 Later that year, she joined David Hobson, Teddy Tahu Rhodes, and Lisa McCune for a concert tour of the five Australian mainland state capitals.
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Structurally, Fratres consists of a set of nine chord sequences, separated by a recurring percussion motif (the so-called "refuge"). The chord sequences themselves follow a pattern, and while the progressing chords explore a rich harmonic space, they have been generated by means of a simple formula. Fratres is driven by three main voices. The low and high voice are each restricted to playing notes from the D harmonic minor scale (D, E, F, G, A, Bb, C#); the middle voice is restricted to the notes of the A minor triad (A, C, E). The entire piece is accompanied by drones in A and E, which are primarily heard in the refuge between each sequence.
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Passaggio () is a term used in classical singing to describe the transition area between the vocal registers. The passaggi (plural) of the voice lie between the different vocal registers, such as the chest voice, where any singer can produce a powerful sound, the middle voice, and the head voice, where a powerful and resonant sound is accessible, but usually only through vocal training. The historic Italian school of singing describes a primo passaggio and a secondo passaggio connected through a zona di passaggio in the male voice and a primo passaggio and secondo passaggio in the female voice. A major goal of classical voice training in classical styles is to maintain an even timbre throughout the passaggio.
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Even though its first use appears to have been in Italy, fauxbourdon was to become a defining characteristic of the Burgundian style which flourished in the Low Countries through the middle of the 15th century. Composers such as Gilles Binchois, Antoine Busnois, and Johannes Brassart all frequently used the technique, always adapting it to their personal styles. A related, but separate, development took place in England in the 15th century, called faburden. While superficially similar, especially in that it involved chains of 6–3 chords with octave-fifth consonances at the ends of phrases, faburden was a schematic method of harmonization of an existing chant; in the case of faburden, the chant was in the middle voice.
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ASIN was formed in late 1976, the nucleus of which was the duo of Mike Pillora Jr. of Negros Occidental and Cesar Bañares Jr. of South Cotabato, who were playing at folk joints and pub houses in Manila as 'Mike and Cesar'. A year later, Lolita Carbon was recruited by the duo to fill in the missing middle voice and eventually became the third member. Pillora named the trio 'Salt of the Earth' after the song recorded originally by The Rolling Stones and later by Joan Baez, written and composed by Mick Jagger and Keith Richards. Other than the song title, Pillora also based the name of the group from the Biblical metaphor salt of the earth which represents the humble and sincere masses.
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Variation 5 engages in three-part imitative counterpoint with the chorale in the middle voice in longer note values. The two-part Variation 6 utilizes more extreme and dynamic diminution and contrasts sharply with Variation 7, which is a slow-paced three-part exploration of the original melody, rich in chromaticisms and darker in mood than the rest of the piece. Variations 8 and 9 both use the melody in long notes (in the bass in Variation 8, in the soprano in Variation 9) with accompaniment in shorter note values. The last three variations change the metre to 12/16 and somewhat gigue-like, joyous in tone; in the final variation the melody is presented using sequences of thirds and sixths in the two upper voices.
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Harmonic minor scale on A The harmonic minor scale is so called because in tonal music of the common practice period (from approximately 1600 to approximately 1900) chords or harmonies are derived from it more than from the natural minor scale or the melodic minor scale. The augmented second between its sixth degree and its raised seventh degree (the "leading tone"), traditionally considered undesirable in melodic progression, is avoided by placing these pitches in different voices in adjacent chords, as in this progression: F A D, F G B, F A C (ii°b–V7d–iv in C minor). The A in the middle voice does not ascend to B, and the B in the upper voice does not descend to A.
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The excerpt below, bars 7–12 of J.S. Bach's Fugue No. 2 in C minor, BWV 847, from the Well-Tempered Clavier, Book 1 illustrates the application of most of the characteristics described above. The fugue is for keyboard and in three voices, with regular countersubjects. This excerpt opens at last entry of the exposition: the subject is sounding in the bass, the first countersubject in the treble, while the middle-voice is stating a second version of the second countersubject, which concludes with the characteristic rhythm of the subject, and is always used together with the first version of the second countersubject. Following this an episode modulates from the tonic to the relative major by means of sequence, in the form of an accompanied canon at the fourth.
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Proposed explanations usually revolve around the subtleties of spatial grammar, information structure (focusRubio 2007 and references therein), verb valency, and, most recently, voice.Zólyomi 1993; Also Woods, Cristopher, 2008: The Grammar of Perspective: The Sumerian Conjugation Prefixes as a System of Voice Mu-, im- and am3\- have been described as ventive morphemes, while ba- and bi2\- are sometimes analyzed as actually belonging to the pronominal- dimensional group (inanimate pronominal /-b-/ + dative /-a-/ or directive /-i-/).E.g. Zólyomi 1993 Im-ma-, im-mi-, am3-ma- and am3-mi- are then considered by some as a combination of the ventive and /ba-/, /bi-/ or otherwise a variety of the ventive.Rubio 2007 I3\- has been argued to be a mere prothetic vowel, al- a stative prefix, ba- a middle voice prefix, etcetera.
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When the action described by the verb is initiated by its grammatical subject, the verb is described as being in the active voice, and the grammatical subject is described as its agent. The t-stems introduced above express the middle voice. The agents of verbs in these stems, which are syntactically active and intransitive, experience the results of these actions as if they were also the patient; in many cases, the action of the verb appears to occur on its own. As a result, verbs in these stems are often translated as if they were agentless passives, or reflexive actions that the subject takes on its own behalf, e.g. etwer minni wuṣle ‘a piece broke off / was broken from it.’ In the passive voice, the grammatical subject of the verb is the recipient of the action described by it, namely the patient.
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Historically Basiola's voice was located in a transitional, intermediate time between late 19th-century vocalism and verismo tastes, somewhat like Carlo Galeffi (also a student of Cotogni). While he lived and worked at a time when deformative tendencies were impinging on the interpretative forms of 19th-century repertoire, Basiola nurtured the legacy of his schooling: he was a high baritone, with a voice clear and free of the defects of the dramatic baritone, with its dark, opaque timbre acquired with artificiality and encumbrances in emission. Basiola also avoided the search for any easy effects that were outside of a purely vocal technical nature. Verismo vocalism, besides being antithetical to the search for “aristocratic” phrasing, tended to place the tessitura in the lower middle voice, causing other singers to forget the technical features that would allow them to dominate the high notes with ease, instead causing them to push in order to fatten the voice, which in turn weighed down its easy emission.
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Benjamin Piekut wrote in Henry Cow: The World Is a Problem that in contrast to Hodgkinson's previous compositions, the song- structure of "Nine Funerals of the Citizen King" introduces repetition, which prevents the music from "wandering without aim". Piekut said the song's texture is well defined: vocals accompanied by "simple chords" on an organ, with the addition later of violin, bass guitar, saxophone and drums. Piekut described "Nine Funerals of the Citizen King" as a blend of Béla Bartók and Richard Wagner, and felt that the eight-measure "chorus", the "But a rose is a rose is a rose" refrain, has "some of the sweetest harmonic writing in the Henry Cow repertoire": > Hodgkinson casts a strange spell here by descending from B in the melody > while simultaneously ascending from E in the bass with what should be the > same pitches. On the third "rose" they cross at G-sharp with a surprising > pentatonic chord that is reinforced by the top vocal line ... but sings on > D-sharp above the C-sharp written in the middle voice.
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The contemporary vocal pedagogy instructor Bill Martin seconds the view that the change from chest voice to head voice occurs at around E4 in all voices, including the bass, but Martin states in the coloratura soprano it is more likely to occur at F4. A recent book by a former teacher at Oberlin College Conservatory of Music and a vocal pedagogy teacher, Richard Miller, states that in the "tenore lirico" the higher part of the singing voice above the secondo passaggio at G4 extending upwards is referred to as "full voice in head," or voce piena in testa, effectively stating the head register begins at G4 in the "tenore lirico," not at E4. According to Singing For Dummies, the bass changes from chest voice into middle voice around A3 or A3 below Middle C and changes into his head voice around D4 or C4 above Middle C. In the head register (which is above the chest register), some of the bottom end leaves the voice, but it's still, according to Martin, a voice capable of much power. Explanations for the physiological mechanisms behind the head voice can alter from voice teacher to voice teacher.
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