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Happily, he said, the required mixture of chest and head tones “plays to one of the strengths of my voice.”

From him she learned about head tones and chest tones and how, when you’re singing, your voice ‘‘should resonate in the bones of your face.’’

Above this I invariably use what is termed the head tone.

What I mean by middle register is low enough to produce chest and high enough to produce head tones.

Whenever the high tones of a lyric tenor sound thin, it is because high head tones do not lie naturally within the singer's range and he is obliged to substitute falsetto for them.