Understanding Chest Voice and Head Voice: A Guide for Singers and Academics

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These are the names of two of the acoustic registers that our voice can produce. The chest voice register causes a sensation of vibration in the chest—whereas the higher head voice register causes a sensation of vibration in the head. However, the concepts of chest voice and head voice are more complex than they may initially seem.

How to Distinguish Between Chest Voice and Head Voice

The best way to distinguish between these two registers is through listening. Especially excellent singers are capable of disguising their registers so well that the audience doesn't need to be consciously aware of it. The balance between registers and their blending occurs naturally, allowing for a seamless vocal performance.

For example, many notes are sung in what is known as mixed voice, a blending of the chest and head registers. The specific register or mix in which each note is sung depends on the singer's interpretation of the text, and the emotional expression of the words dictates the appropriate mix. This blend can be "chesty/head mix" or "heaedy/chest mix," depending on the voice type and the notes being sung.

Everyday Speech and Vocal Registers

It is essential to recognize that we use these registers naturally and without conscious thought throughout our daily lives. We transition between these registers just as seamlessly when speaking to infants, engaging in everyday conversations, or even in highly charged situations.

The Indian tribe scalping someone wasn't preoccupied with which register they were using at the moment. Similarly, a baby simply yells without worrying about which vocal register they are utilizing.

There are no specific notes that always function as one register in every voice. Each voice is unique, typically classified according to their fach voice type, a term used to describe voice type and typical range of the singer. Understanding vocal registers has been a lifelong pursuit for me, and the nuances of these differences have taught me much.

Understanding Vocal Registers Through Real-Life Examples

To illustrate further, let's look at two exceptional vocalists: Bernadette Peters and Liz McCartney. Bernadette Peters is a master of acting with her voice, and in the following video, you can see her using a "chesty/head mix" and a "heady/chest mix".

Liz McCartney is also a master vocalist. In the song 'Taboo' from a musical written by Boy George, observe how she transitions effortlessly between these registers.

Another example of McCartney's technique is seen in the song 'Climb Every Mountain' from the film The Sound of Music. In this piece, she uses her voice in a more operatic manner, but she still performs without overthinking the registers.

Over Complicating the Matter

My teacher, Elena Nikolaidi, often emphasized, "We must learn to do what we already know how to do." It is crucial not to overcomplicate the matter of vocal registers. We use these registers spontaneously in everyday speech, and the same applies to singing. The voice should work as it should, beautifully, without the need for artificial manipulation.

Overthinking and complicating vocal registers can be detrimental to natural performance. As Liz McCartney's excellent technique demonstrates, the voice works when it is trained and used correctly. The voice should operate seamlessly, aligning with the emotional and textual intent of the performance.

By listening to these examples, you can better understand the natural use of vocal registers in both classical and contemporary singing. These real-life applications of voice and register provide a deeper insight into how to harness the natural abilities of the voice for both performance and everyday use.

Key Takeaways

References

Bernadette Peters and Liz McCartney are exceptional examples of how to use vocal registers naturally and effectively. Their performances illustrate that the natural use of these registers is key to beautiful singing.