Whistle
Flageolet
Head Falsetto
Mix Middle
Chest Belt Modal
Fry
Flageolet
Head Falsetto
Mix Middle
Chest Belt Modal
Fry
What do these register names mean? Do they apply to both the male and female voice? What's the right terminology for each singing style? Do different styles call for different uses of registers?
First, a disclaimer:
From singer to singer, the range of experiences within the realm of registers is wide. Some people experience little to no shift in sensation from their lowest note to their highest note. Some people feel like they need to navigate a dramatic change in the sound and feel of their voice as they move through their range. Most of us experience some kind of shifting in sensation and sound as we sing. We usually talk about our voices as having 3 main registers that roughly correlate to our low, middle, and high range. That being said, registers can feel more nuanced than that, like our vocal registers are on a blended gradient rather than contained within delineated boundaries.
From singer to singer, the range of experiences within the realm of registers is wide. Some people experience little to no shift in sensation from their lowest note to their highest note. Some people feel like they need to navigate a dramatic change in the sound and feel of their voice as they move through their range. Most of us experience some kind of shifting in sensation and sound as we sing. We usually talk about our voices as having 3 main registers that roughly correlate to our low, middle, and high range. That being said, registers can feel more nuanced than that, like our vocal registers are on a blended gradient rather than contained within delineated boundaries.
The physiology of register shifts
Imagine that our vocal folds are fleshy rubber bands. When we sing low, our vocal folds are relaxed, thick, short, and oscillating against each other in a rolling mucosal wave . As we sing higher, they stretch, thin out, and get more taught.
The primary muscle used for shortening our vocal cords and creating lower pitches is the thyroarytenoid muscle - TA for short. The primary muscle used for lengthening our vocal cords and creating higher pitches is the cricothyroid muscle - CA for short.
The primary muscle used for shortening our vocal cords and creating lower pitches is the thyroarytenoid muscle - TA for short. The primary muscle used for lengthening our vocal cords and creating higher pitches is the cricothyroid muscle - CA for short.
- Oscillating / vibrating vocal cords = mucosal wave
- Cricothyroid muscle (CT) = vocal cord lengthener
- Thyroarytenoid muscle (TA) - vocal cord shortener
TA Muscle
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CT Muscle
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Chest Voice / Modal Voice - High Closed Quotient (CQ)* / TA muscle.
Our lowest register. The vocal folds are short, thick, and oscillating in a rolling wave.
This register usually correlates to our speaking voice in sensation and general range. We feel like our voice has more power in this register. The thyroarytenoid muscle (TA) is the main muscle of the larynx responsible for producing chest voice. They contract inwards, resulting in shorter, thicker vocal folds and lower pitches.
Belting / Chest Dominant Mix - High Closed Quotient (CQ)* / TA muscle, some extrinsic muscles.
Belting is the term used to describe the sound of the voice when the chest voice is brought up into the middle register - it has a power and intensity that middle voice and head voice lack. Belting is used a lot in musical theatre and pop but is usually referred to as chest dominant mix these days to avoid the negative associations that the word belting has (i.e. yelling that will cause vocal harm). In order for the vocal folds to create higher pitches in chest voice coordination, the Thyroarytenoid (TA) muscles must ad extrinsic muscles (muscles not necessary for healthy vocalizing) to pull and stretch the vocal folds to make them thin enough to make higher pitched sounds. As a result, the larynx starts to ascend along with the pitch and it takes extra volume and muscle strain to keep our vocal folds vibrating in this situation. This vocal production creates a limited harmonic sound wave, heard as a “splatty”, or dull tone quality. This timbre can lead to even more pushing and straining to try to get more out of the un-resonant sound.
A safe belt sound is created by using resonance to add or maintain power in the sound while shedding the weight of the lower chest voice feel, and not giving in to the urge to pressurize or "muscle" your sound (i.e. separating your sound production sensations from your sound quality). Forward resonance found through vowel alignment and modification, proper support, and low pressure, will allow you to belt without strain and fatigue. Strengthening your middle voice and head voice (learning to utilize forward resonance), will help you achieve a stronger "chest dominant mix."
Our lowest register. The vocal folds are short, thick, and oscillating in a rolling wave.
This register usually correlates to our speaking voice in sensation and general range. We feel like our voice has more power in this register. The thyroarytenoid muscle (TA) is the main muscle of the larynx responsible for producing chest voice. They contract inwards, resulting in shorter, thicker vocal folds and lower pitches.
Belting / Chest Dominant Mix - High Closed Quotient (CQ)* / TA muscle, some extrinsic muscles.
Belting is the term used to describe the sound of the voice when the chest voice is brought up into the middle register - it has a power and intensity that middle voice and head voice lack. Belting is used a lot in musical theatre and pop but is usually referred to as chest dominant mix these days to avoid the negative associations that the word belting has (i.e. yelling that will cause vocal harm). In order for the vocal folds to create higher pitches in chest voice coordination, the Thyroarytenoid (TA) muscles must ad extrinsic muscles (muscles not necessary for healthy vocalizing) to pull and stretch the vocal folds to make them thin enough to make higher pitched sounds. As a result, the larynx starts to ascend along with the pitch and it takes extra volume and muscle strain to keep our vocal folds vibrating in this situation. This vocal production creates a limited harmonic sound wave, heard as a “splatty”, or dull tone quality. This timbre can lead to even more pushing and straining to try to get more out of the un-resonant sound.
A safe belt sound is created by using resonance to add or maintain power in the sound while shedding the weight of the lower chest voice feel, and not giving in to the urge to pressurize or "muscle" your sound (i.e. separating your sound production sensations from your sound quality). Forward resonance found through vowel alignment and modification, proper support, and low pressure, will allow you to belt without strain and fatigue. Strengthening your middle voice and head voice (learning to utilize forward resonance), will help you achieve a stronger "chest dominant mix."
Mixed Voice / Middle Voice - High Closed Quotient (CQ)* / TA and CT muscle.
Mixed, or middle voice, occurs when our vocal folds stretch / elongate as we sing higher but are still relatively thick and oscillating with a good amount of their tissue's surface area coming in contact on the closed part of the phonation cycle. Some people refer to mixed voice as a blending of head and chest - it can feel that way, and the CT and TA muscles are working together to create stretched, but still thick folds. When the CT and TA muscles are working together, our larynx tilts forward slightly, as it does when we mimic the sound of a sob or whine. The resonance created when we use our mixed voice well results in sensations primarily felt in the front of our face, or the “mask.” Like a safe belt, middle voice is found by using resonance to add or maintain power in the sound and not giving in to the urge to pressurize or "muscle" your sound (i.e. separating your sound production sensations from your sound quality). Forward resonance found through vowel alignment and modification, proper support, and low pressure, will allow you to access your middle voice or mix.
Mixed, or middle voice, occurs when our vocal folds stretch / elongate as we sing higher but are still relatively thick and oscillating with a good amount of their tissue's surface area coming in contact on the closed part of the phonation cycle. Some people refer to mixed voice as a blending of head and chest - it can feel that way, and the CT and TA muscles are working together to create stretched, but still thick folds. When the CT and TA muscles are working together, our larynx tilts forward slightly, as it does when we mimic the sound of a sob or whine. The resonance created when we use our mixed voice well results in sensations primarily felt in the front of our face, or the “mask.” Like a safe belt, middle voice is found by using resonance to add or maintain power in the sound and not giving in to the urge to pressurize or "muscle" your sound (i.e. separating your sound production sensations from your sound quality). Forward resonance found through vowel alignment and modification, proper support, and low pressure, will allow you to access your middle voice or mix.
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Finding your "mixed voice" or "middle voice":
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Head Voice / Legit (Female Voices) - High Open Quotient (OQ)* / CT muscle.
In head voice, our vocal folds are more like stretched rubber bands with only the thin edges touching on each oscillation. In fully engaged chest voice, our vocal folds are shorter, thicker, relaxed, and oscillating with a lot of surface area touching.
In head voice, our sound and resonance seem to emanate from our head rather than our chest or throat. The cricothyroid muscle (CT) is the main muscle of the larynx responsible for producing head voice. When the muscle contracts, it pulls the vocal folds forward, resulting in thinner folds and higher pitches.
Falsetto (Male Voices) - High Open Quotient (OQ)* / CT muscle. [M2]
In falsetto, only the ligamentous edges of the vocal folds vibrate while leaving the tissue of each fold (the vocalis muscle) relatively relaxed. The CT muscles are responsible for stretching the vocal ligaments. This is why falsetto is our most flexible vocal register.
Reinforced Falsetto
Using resonance to strengthen and focus the sound of falsetto.
Head voice and Falsetto are produced very similarly to each other. The norm in the singing world is to use the term "head voice" for women and "falsetto" for men. A very breathy head voice will sometimes be referred to as female falsetto, in women, but really, it's just a breathy head voice.
In head voice, our vocal folds are more like stretched rubber bands with only the thin edges touching on each oscillation. In fully engaged chest voice, our vocal folds are shorter, thicker, relaxed, and oscillating with a lot of surface area touching.
In head voice, our sound and resonance seem to emanate from our head rather than our chest or throat. The cricothyroid muscle (CT) is the main muscle of the larynx responsible for producing head voice. When the muscle contracts, it pulls the vocal folds forward, resulting in thinner folds and higher pitches.
Falsetto (Male Voices) - High Open Quotient (OQ)* / CT muscle. [M2]
In falsetto, only the ligamentous edges of the vocal folds vibrate while leaving the tissue of each fold (the vocalis muscle) relatively relaxed. The CT muscles are responsible for stretching the vocal ligaments. This is why falsetto is our most flexible vocal register.
Reinforced Falsetto
Using resonance to strengthen and focus the sound of falsetto.
Head voice and Falsetto are produced very similarly to each other. The norm in the singing world is to use the term "head voice" for women and "falsetto" for men. A very breathy head voice will sometimes be referred to as female falsetto, in women, but really, it's just a breathy head voice.
Flageolet - CT Domination (maximum vocal fold stretching and least amount of contact/highest OQ).
Flageolet can be described as the head voice above head voice, or the falsetto above falsetto.
We get the term flageolet from the french word for a tiny flute - the voice above falsetto and head voice in both men and women - the highest standard register in the human vocal range. (Flute voice is different from whistle voice!) It's a quiet, squeaky sound.
Flageolet can be described as the head voice above head voice, or the falsetto above falsetto.
We get the term flageolet from the french word for a tiny flute - the voice above falsetto and head voice in both men and women - the highest standard register in the human vocal range. (Flute voice is different from whistle voice!) It's a quiet, squeaky sound.
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Finding flageolet:
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Registers outside of the human "standard range":
Vocal Fry - TA, High CQ.
Short, compressed vocal folds, but very loose.
Below chest voice, sounds like the stereotypical valley girl "oh my gawwwwd."
Good for improving "medial compression" (closing the cords) without squeezing or pressurizing.
Good for creating a light, connected sound - especially in the upper range.
Vocal Fry - TA, High CQ.
Short, compressed vocal folds, but very loose.
Below chest voice, sounds like the stereotypical valley girl "oh my gawwwwd."
Good for improving "medial compression" (closing the cords) without squeezing or pressurizing.
Good for creating a light, connected sound - especially in the upper range.
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Accessing good medial compression in our upper range:
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Whistle Voice - above flageolet - sounds like a hawk's cry. Not super effective for improving vocal technique. It's more of a party trick.
Sound in Whistle Voice is produced differently than other registers - the vocalis muscle (the body of the vocal cords) locks down, and air whistles through a space made in the back of the glottis.
Sound in Whistle Voice is produced differently than other registers - the vocalis muscle (the body of the vocal cords) locks down, and air whistles through a space made in the back of the glottis.
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Accessing whistle register:
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* Open Quotient / Closed Quotient
The vocal cords are attached at one end, like a “V”, and vibrate quickly together while resisting air pressure from the lungs to create what we hear as pitch. Like when you pull the end of a balloon together with your fingers and gradually allow air to escape the balloon, creating that high-pitched, “eeeeee” sound. (Interesting aside, that is how your vocal cords sound all on their own, without your throat and mouth as resonating spaces). The greater percentage of time the vocal folds stay closed between vibrations – the more air is resisted – the clearer the vocalized sound is (Closed Quotient). The lesser percentage of time the vocal folds stay closed between vibrations, – the more air escapes – the “breathier” or more air is heard in the sound (Open Quotient).
The vocal cords are attached at one end, like a “V”, and vibrate quickly together while resisting air pressure from the lungs to create what we hear as pitch. Like when you pull the end of a balloon together with your fingers and gradually allow air to escape the balloon, creating that high-pitched, “eeeeee” sound. (Interesting aside, that is how your vocal cords sound all on their own, without your throat and mouth as resonating spaces). The greater percentage of time the vocal folds stay closed between vibrations – the more air is resisted – the clearer the vocalized sound is (Closed Quotient). The lesser percentage of time the vocal folds stay closed between vibrations, – the more air escapes – the “breathier” or more air is heard in the sound (Open Quotient).
Some factors that determine a singer’s voice type:
Vocal Weight – the heaviness or lightness of your specific voice
Tessitura – the range of your voice where you sing most comfortably
Passaggi / Bridge Location– the place where your voice transitions between vocal registers
Range – the lowest note and highest notes you can sing
Timbre – the color and texture of the voice
Vocal registers – how large or small your different registers are
Speaking Voice – how high or low you speak
Anatomy – the length of your vocal tract (glottis to lips), size of vocal folds, bone structure / the shape of your resonant cavities.
Vocal Weight – the heaviness or lightness of your specific voice
Tessitura – the range of your voice where you sing most comfortably
Passaggi / Bridge Location– the place where your voice transitions between vocal registers
Range – the lowest note and highest notes you can sing
Timbre – the color and texture of the voice
Vocal registers – how large or small your different registers are
Speaking Voice – how high or low you speak
Anatomy – the length of your vocal tract (glottis to lips), size of vocal folds, bone structure / the shape of your resonant cavities.
Register ranges by voice type:
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The general register ranges for a soprano voice:
The register ranges for a mezzo-soprano voice are as follows:
The register ranges for a contralto voice:
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The general passaggi for tenor voices:
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Vibratory Mechanism classification:
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References:
- Miller, Richard. The Structure of Singing. 1986.
- Roubeau B, Henrich N, Castellengo M. Laryngeal Vibratory Mechanisms: The Notion of Vocal Register Revisited. 2009.
- Nathalie Henrich, Christophe D’Alessandro, Boris Doval, Michèle Castellengo. Glottal open quotient in singing: Measurements and correlation with laryngeal mechanisms, vocal intensity, and fundamental frequency. Journal of the Acoustical Society of America, Acoustical Society of America, 2005, 117 (3), pp.1417-1430.
- Miller, Richard. The Structure of Singing. 1986.
- Roubeau B, Henrich N, Castellengo M. Laryngeal Vibratory Mechanisms: The Notion of Vocal Register Revisited. 2009.
- Nathalie Henrich, Christophe D’Alessandro, Boris Doval, Michèle Castellengo. Glottal open quotient in singing: Measurements and correlation with laryngeal mechanisms, vocal intensity, and fundamental frequency. Journal of the Acoustical Society of America, Acoustical Society of America, 2005, 117 (3), pp.1417-1430.