Voice of his chest, his head and his mischief: differences and mixed voice
The vocal records explain without mystery: how you feel about each one, why the breakage appears and how mixed voice is built, in lyric and popular.
The voice of the chest is the record with which you speak: complete, with a vibration that sits on the chest and dominates the serious and the means. The voice of the head is lighter, it feels to vibrate on the face and head, and allows you to get to the sharp. Frecusing is an even lighter and airy version of the acute record, very clear in the male voices. The mixed voice is the co-ordination that unites those records without notice of change.
Between one record and another there's the passage, the area where the voice tends to be broken. It's not a defect: all voices have it, and learning how to get through it is one of the central aims of vocal technique.
To sum up
- The whole sound occurs in the larynx and "chest" and "head" describe where you feel the vibration, and not where the voice comes from.
- The vocal cords vibrate thicker and thinner and more thin and more stretched with a head and with a distorted face.
- The misconduct lets more air escape and has less body than the head voice, that sounds more connected.
- The break or "rooster" appears when the voice changes from a blow-and-snap tightness and softens with light exercises and does not push.
- The mixed voice isn't a separate record but a trained mix that allows to rise without shouting or abruptly changing color.
What's a vocal record
A record is a group of notes that share the same type of sound because vocal cords vibrate in a similar way. When you get up from serious to acute, a point arrives at that adjustment no longer gives and the voice goes to another. If you do so at once, you hear the breakage.
The names are old and are based on sensations. In his chest's voice, his vibration sits at his sternum, his head, his face, his cheekebooks or his crown. But his sound always comes from his larynx: his chest and his head only resound.
| Registro | That's where you feel | How does that sound? | Where to use |
|---|---|---|---|
| Voice of the chest | Fur and lower neck | Full, direct, with a talking voice | Graves and means, popular, most of the Stretches |
| Voice of head | face, cheekebooks, high head | Light, round with presence | Acute, lyric, most of the acute record |
| Falsete | Head with a feeling of air | Aireada, soft, with low volume | Soft passes and pop, soul and ballast effects |
| Mixed voice | Between them, without a clear cut | Couples and connected | Passage area and sharp with body, especially popular |
Faking or a word of his head? The difference in practice
It's the most common doubt and teachers don't always use words the same. In practice, the difference is how much they close their vocal cords:
- Faked: The ropes vibrate thin and they don't completely close, so air escapes. It sounds blown and light, and it's hard to give them volume. In men, the leap from his chest's voice is quite clear.
- Voice of the head: It's also a light but with a firmer clasp. It sounds cleaner, with more presence, and better connected with the chest voice.
In women, the contrast is less obvious, and many teachers simply call the whole acute female record his head. Above that is the record of whistling, very sharp and little used, that only some voices develop.
None of them are "bad." Falsehood is a valid expressive resource and the problem appears when it's the only way to get to the sharp and you cannot move from it to a more body voice.
The passage: why his voice broke
The passage is the transition area between logs. If you carry your chest's voice up with all its weight, come a time when you can't hold and leap to a light setting: that leap's a rooster or a break. It happens more when you're singing strong, you're tired or you're quite open.
Where it appears depends on the type of voice. In many feminine voices there's a first change about me or fa that are above the central do, though it's different. At men, the point of greatest difficulty usually lies at the top of their range and arrives earlier at a low or a baritone that at a tenor. That's why the place of the passage is one of the clues to [knowing your type of voice]](/blog/como-saber-mi-tipo-de-voz).
What's worse about his breakage
- To up the volume as you get up from note.
- Lift your chin or stretch your neck to "reach" the note.
- Open the vowel to the sides, as a very broad "a."
- Avoid your head's voice because it "sounds weak" and force your chest as far as it doesn't give anymore.
What's mixed voice
The mixed voice is a co-ordination in which the voice preserves part of the body and part of the light of the head. It's not a third record with its own muscles but a way to balance both settings so that the voice goes up without breaking or shouting.
It's recognized as the voice goes through the passage without a sudden change of color, and the volume can be controlled and the throat doesn't feel tight. At first the mixture usually sounds closer to the head and with practice gain body. To want a powerful mixed from the first day is a recipe to end up pushing.
The belting, so used in pop and musical theater, is another setting: bright and with a high level of his chest in the mid- acute area. It's built on a well-coordinated and guided voice, and isn't imitating full-volume recordings.
Exercises to Unite Records
Do them after a [vocal warming]](/blog/ejercicios-de-calentamiento-vocal) and at moderate volume. The goal isn't to have a breakup disappear within a week but to have a smaller and smaller break.
| Ejercicio | How to do this | What's his use? |
|---|---|---|
| Serena at "u" or "ng" | He scattering his voice from grave to sharp and back, and his volume down right at the breaking area. | To feel where his voice changes without a blow. |
| Vibration of lips at octaves | He goes up and down an octave with his lips vibrating. | Cross the passage with very low pressure. |
| From his head down | It starts with a head and goes down with a scale of five notes, without changing to a heavy voice. | Take light down, the easiest way to mix. |
| "Je" or "gu" in an arpeggio | Artigio 1-3-5-8-5-3-1 passing through with these syllables. | Keep an efficient closure at the change area. |
| From distorted to full voice | On a note from the passage, it starts with a mismatch and adds body little by little, without jumping. | Fine monitoring and advanced exercise best with guide. |
If an exercise makes you tighten your throat, get back to the previous one. The mixture is built from light to full, never the other way around. When the passage stops scary, you can start [amplify the vocal record]](/blog/como-ampliar-el-registro-vocal) To the end.
The records in lyric and popular singing
The two styles work with the same records but with different aims:
| lyric song | Popular song | |
|---|---|---|
| Purpose with passage | Don't be noticed: a bad to sharp united voice. | Control and sometimes change are used as an effect. |
| Agudos | The head's voice predominates with plenty of space and resonance. | Mixed, belting or distorted, according to style and song. |
| Falsete | Unused in male voices, except for contrators. | Common remedy in pop, soul, R & B and ballads. |
| Intent Fever | It's been avoided. | It's a stamp of styles as the ranch or yodel. |
If you haven't decided what path to get, we'll help you compare [lyric or popular singing]](/blog/canto-lirico-o-canto-popular)In either of them, a [singing] teacher](/clases/canto) Listen to where your voice breaks and choose the exercises that join them without forcing them.
Frequently asked questions
Do women have a mismatch?
Yes: they have that light and airy tuning as well, but they are less distinguished from their heads than they are from men. That's why many teachers talk about misconduct especially with male voices and their heads with their heads.
Is it bad to be a fake?
No. It's a healthy resource if you don't force it. What's best to do with it isn't only dependent on him for the sharp and also to learn how to connect his head and his chest.
Why do I get cocks while I'm singing?
Almost always because you carry too much weight and volume of your breast's voice to the passage, or because your voice's tiring. Drop the volume in that area, round the vocal and work soft sirens. In teens, the cheesebooks are also part of a change of voice and pass with time.
How long does it take to achieve a mixed voice?
It's up to every voice and practice but it's usually about a few months. First the breakage gets smaller and then a light blend appears and eventually gain body and volume.