Maestro Thank you for your Book, it is great! It has been a week that I received it and it is keeping me busy. I read it almost every day… and I am already doing some of the exercises. I have a question, if I may ask you. Garcia is very specific about the blending of the registers… if the tenor voice is one from low to high in chest voice, why would he use the term blending the registers, or would prescribe exercises in chest and falsetto at the same time? Pardon my ignorance, could it be possible that Garcia wants us to start singing in falsetto to develop it, make it stronger, to the point that it sounds, or it becomes chest voice or like chest voice? I am sorry, some light on this would be great, thanks!<\/em><\/p><\/blockquote>\n <\/p>\n My Face Book friend has discovered a dissonance that tripped me up when I first read the book he bought from my webstore<\/a> that he calls mine. It is not my book, but I am happy he bought it. He noticed that Garcia would seem to speak with a forked tongue. I believe the truth is that Garcia made a wonderful invention, the laryngoscope, with which he discovered the most important difference between boys and girls. Not the difference that makes public bathroom door icons a modern controversy, but the much more important Vocal Pedagogical difference. Boys have two functions, one register. Girls also have two functions but three registers.<\/p>\n <\/p>\n Now, forked tongues are not all developed for seeking victory on Election Day, even if some feel they are essential. A tongue can get forked by circumstances. In Garcia\u2019s case, giving the appearance of a fork in his tongue could have been avoided by eliminating all the text rooted in his opinion expressed in the original edition of his book. When he researched Vocal Function with his little mirror, a decade after his book was first published, he made a key discovery that made him reedit and publish a new revised edition. The expressions that he did not revise give rise to questions such as the one above quoted.<\/p>\n There is another reason to see a split in Garcia\u2019s tongue. It comes from the loose way Garcia used the terms \u201cregister\u201d and \u201cvoice\u201d. It would have been easier for me if he had been much more pedantic in his word usage, but he was only human. He wasn\u2019t a tenor like me, but, you know, not perfect. Much of his advice to \u201cblend the registers\u201d was about using two different vocal functions on single pitches. That is to say: Sing a note in Chest Voice and then in Falsetto. The word \u201cblend\u201d is more about hiding the transition from one function to another. He didn\u2019t even have a machine to make smoothies<\/a> back then.![\"\"](\"https:\/\/i0.wp.com\/rockwellblake.com\/blog\/wp-content\/uploads\/2016\/12\/n-BATHROOM-SIGN-628x314.jpg?resize=560%2C205&ssl=1\")
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