Can you give me a definition of “head voice?”
Hi!
I was just wondering if you could give me a clear definition of what ‘Head Voice’ is, how it works and how to achieve it? David
ANSWER: Hello David,
Guess what?!! I cannot give you a “clear definition” of “head voice.” The reason is that the term denotes a non-scientific concept related to experiencing resonance on high pitches of the range. We have just ONE voice … not a “chest voice” and a “head voice” or a third alternative … no we just have ONE voice. “Head voice” is one of those esoteric terms in singing jargon that is used nefariously in association with resonation and vocal registers and can be very confusing to young students of singing. However, I will not be in the least surprised if within a short while half-a-dozen voice teachers or voice students will proclaim—in my comment section—a dogmatic “definition of head voice,” each different from one another.
Having said that, the term “head voice” is widely used, so some explanation is in order to help clarify the situation. The vocal cords are capable of vibrating in four distinctly different patterns. (By the way not every individual is capable of producing notes in all these ways.)
The “vocal fry” can sometimes be heard by bass singers when reaching their lowest tones in a choral setting … and it happens when the vocal cords are loosely adducted (closed) and air bubbles through them. A number of baritones and basses can produce the “sound” of the vocal fry and it affords them a few notes lower than their normal speaking-singing voice (modal register). It often has a deep sepulchral sound. The “vocal fry” register is the lowest in the human voice.
Modal register is the normal register for speaking and singing. When the vocal cords adduct (close) and air is pushed through them, the whole musculature (of the vocal cords) is set into motion producing sound that can be clear and ringing. In general, except for singers who specialize as falsettists, the modal register is universally used by all trained singers throughout their range.
Falsetto register is produced when the body of the vocalis muscles are relaxed and just the ligamentus edges are brought together … and only that thin portion vibrates. The resulting sound is usually “fluty,” monochrome, breathy and without many overtones. It lacks the richness and variation in color that is possible in the modal register. This register also tends to overlap some of the highest notes in the modal range and continue higher for a few notes.
The “whistle” register is the highest vocal register and lies above the female falsetto range. In this scenario, the vocal cords are seen to have closed over two-thirds of the length of the cord leaving one small portion open, not completely unlike puckered lips when whistling. The sound is light, and until it became trendy through such popular singers as Maria Carey and Minnie Riperton, was used little.
The reason for giving you all this background is that depending on who the voice teacher is, s/he may use the term “head voice” to refer to falsetto, while others refer “head voice” to the upper-most notes of the range in modal register. Rightly understood, the reference to “head” should be in conjunction with the high notes of a person’s range in modal (normal) register.
How it works:
Both men and women have areas in the range at which a change of timbre can be easily perceived. Some teachers call this a “passagio” (from the old Italian teachers), others refer to it as a ‘break’ still others call it a ‘lift.’ Men have one prominent one that happens in the vicinity of Middle C to F above middle C (a slight over generalization), and women have two prominent “break” areas the lower one coinciding with their male counter parts (the exact same area) and the upper one approximately one octave higher. In some women (especially) these breaks can be very prominent … and it is the aim of the student and voice teacher to “even out” the separate areas so that the entire range sounds seamless.
As I say, in a man the break will happen somewhere in the vicinity of Middle C to the F above it often depending upon the general classification of the singer. Basses experience their break lower than light high tenors. So, the term “head voice” refers to the notes above the (upper) transition … and how to sing them. See my added note at the end.
What to do to negotiate “head register”:
As the singer approaches this area from below in an ascending scale he should incrementally feel that his jaw drops more, allowing or making more space, that the feeling of the vowels he produces feel more vertical, that vowels may need to be “modified” to keep from producing a “yelly” tone (some teachers implement the concept of ‘cover’**), that tone itself takes on an increasingly vigorous but lighter sensation, and often that the vibratory feelings he feels moves back “in the head” rather than stays forward “in the mask.” All these things are learned skills under the discerning ear of an experienced voice teacher. There is MUCH MORE that I could say about the subject matter … but being succinct is probably more helpful to you at the moment.
As I say, just writing/talking about this can sound fairly impenetrable. But every good singer does learn how to negotiate through these areas effectively. At age 18, however, learning how to approach your “head register” probably should not be your highest priority as there are more foundational things to make habitual.
Best wishes.
** the concept of ‘cover’ is a good one and should not be confused with “covered tone” which is not good.
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After re-reading my response to you, I think I might well have left you confused concerning “what is head voice?” Correctly, “head voice” simply refers to the feelings, vibratory sensations, required oral space, vowel modification and respiratory energy or support a singer experiences in his/her top-most notes of the range in modal vocal register. Relatively few singers find themselves singing these “high” notes “naturally” correctly. Most singers have to be taught how to negotiate their upper-most range so as to maintain both tonal beauty and vocal health.