VOCALS
15 VOCAL TERMS : DEFINED ( PART 3 ) | Sheri Gould
This month brings to a conclusion my threepart series on Vocal Terms . In this last article we will look at four terms : The Mask , Mixed Voice , Head Voice and Chest Voice . These are all terms that refer specifically to areas of resonance . For a definition of what resonance is , in order to more fully understand this article , please
refer to Part 1 of this series where I define “ resonance ”.
THE MASK This term is widely used and yet not necessarily widely understood . The mask area itself is somewhat subjective , given to each person ’ s interpretation . Moreover , even if one agrees on the precise area in discussion , the way in which resonance is achieved can be multifold . I will try to give you a working definition for your own purposes , but please bear in mind that this area is subjective .
Since most areas of resonance cannot seen with the human eye alone , we , as vocal teachers , have had to create word pictures to help our students understand the inner workings of our bodies . This is true with the term “ mask ”. When someone refers to the mask area , they are generally referring to an area that might be covered by a mask that smaller in size , perhaps like you might expect “ Robin ” ( of Batman and Robin ) to wear , or something that might be held up to the face at a masquerade ball . This is definitely not referring to a full-on face mask . This “ mask ” would cover , primarily the cheeks , nose and eyes . There are pockets behind this area where a very specific resonance can occur . Because there are multiple areas taken into account , the mixing and filling of each individual area can vary not only from person to person , but also depending on the choices the singer makes .
This resonance should be a more balanced and rounded sound , even though in includes the sinus cavities . Since this is a mixture of tone qualities , it can be altered and played with . Care must be taken not to focus the tone in an overly nasal way . This area of resonance is also a much more healthy place to speak as well .
HEAD VOICE This term should refer to an area of resonance above the mask , in which case a better use of this term would be “ head register ”. This is an area where we are taught to think of the tone as coming up though the top of our head or at least placed in the forehead . This largely bypasses the mask and is placed higher . Often , in today ’ s contemporary untrained vocal world , this term gets used interchangeably with the term “ falsetto ”. Falsetto is a reference to a specific configuration of the vocal cords - specifically only partial adduction . Falsetto is not a specific way of resonating ( for a more detailed look at falsetto , please
refer to Part 2 in this series ).
A head register is often a lighter type of resonance although it should not be airy . The addition of air into the head register is a misunderstanding / misuse of the beauty of this area of the voice .
MIXED VOICE Often there is an area where shifting from a lower register into an upper register requires a lot of skill . Without a certain level of skill there will often be a noticeable “ break ” in the singer ’ s voice . Typically , this is something that is undesired . Through proper vocal technique , this difficult area can be smoothed over creating a seamless voice from bottom to top of the singer ’ s range . There are multiple ways to achieve this . By “ mixing registers ” some singers can accomplish this goal . It can actually be as simple as discovering a workable place to resonate in the mask . This terminology has helped people to move away from a harsh break in the voice to a smoother transition by envisioning a “ mixture ” of the two voicings .
CHEST VOICE The chest voice ( or chest register ) is the lowest of the areas of resonance . This has become a very popular area to sing in not only because of the perceived “ power ” of this voicing , but because of the ease of access . Since most people tend to speak in their chest voice , it ’ s easier for them to sing there as well . Sadly , this is not always the healthiest way of singing giving todays styles and often ends up in a type of “ belting ” that can be quite harmful to the voice .
Since many people have not learned to transition their voice smoothly from one register to the next with equal power and beauty , they often end up trying to simply sing in this one way . As they attempt to carry this type of singing higher it creates way too much pressure on the vocal cords . Ultimately the vocal cords will abduct and go into a pseudo-falsetto type of voice ( completely unnecessarily for a woman or too early for a man ). This often creates the misunderstanding that the end of the chest register is also the end of any real or usable range . This is a terrible loss . The chest register can have a beautiful rich tone but should not be overused through speech or constant use in the singing voice .
I hope this little foray into understanding vocal terms has been helpful . If you have any further question regarding these , or any other vocal issues , please don ’ t hesitate to reach out . God Bless You as you sing for Him !
Sheri Gould Sheri is an internationally acclaimed vocal coach . She ’ s been helping artists and worshipers find their voice for over 40 years . For help and resources visit her site . www . SheriGould . com