and that I would like to try something with them that was suggested to me by female vocal coaches that I know and respect .
STEP 4 - LET ’ S TRY SOMETHING DIFFERENT I explain that what we ’ re going to try might feel a bit different than what they ’ re used to , but I hope it will make the higher notes much easier to sing . I make clear that I am NOT asking singers to strain - belt out - those higher notes . Doing so can cause vocal damage .
STEP 5 - THE CURRENT “ CHEST ONLY ” STYLE As briefly as I can , I explain about female chest and head register and how most of the female soloists we hear today - even those singing “ worship music ” - will tend to use only ( or mainly ) their chest register . These singers inspire us . At least subconsciously we can be trying to emulate them . But we must understand that what is right for them in their context as performing , recording artists is not necessarily the right approach for us in our context . They are producing a recording of a song that needs to be a great listening experience . In contrast , we are tasked with guiding every man , woman , and child in our church congregation to sing the song . We are here to show them how the song goes . Not to perform for them .
STEP 6 - THE CONGREGATIONAL “ CHEST AND HEAD ” STYLE I describe how , in choral and choir music , every female singer - whether they be alto or soprano - are expected to sing considerably higher than the C5 . Yet the singers I ’ m now coaching are feeling C5 is too high . This is because female choir / choral singers use both their chest and their head register to achieve the required vocal range . Like choir vocals , congregational singing also requires female singers to use their head register - even though it might be out of style to do so . If we are going to pitch songs so that men are able to sing the melody one octave lower with the women and children an octave higher this is a required skill .
STEP 6 - EXPERIENCING HEAD REGISTER But what is head register ? Without any disrespect intended , I invite us all to have a bit of a laugh together by mimicking and making fun of soprano opera singers . We ’ re not singing any song in particular . Just making high sounds with our voices . I ’ ll need to make a bit of a fool of myself here , but I ’ ll start things off by using my flimsy falsetto . Not a nice sound at all ! I keep going until we ’ re all doing it .
If I have managed to get all the women doing this properly , they will be using their head register !
NOTE : Only males can sing ( or speak ) with a truly falsetto voice . Falsetto requires a utilization of the vocal cords in a way only possible for men . Some extraordinary male singers - like Thom Yorke from Radiohead , Jeff Buckley , Philip Bailey from Earth , Wind and Fire , Prince and Conor Mason from Nothing But Thieves - developed truly amazing falsetto . But not many men have , and certainly not me ! Male falsetto is NOT the same as head register for females , but it can be a handy way for a male to suggest head register to female singers .
STEP 7 - LISTEN TO EACH VOICE As the classical caricature cacophony continues , I move close to each singer in turn to hear their “ opera voice ”. Apart from in some rare and exceptional cases , I find that all the singers have a head register . Some of the singers might be very used to using this register . Others might have known about it , but don ’ t like to use it . Some might be using their head register for the first time ever !
STEP 8 - CONNECTING THE DOTS “ That ’ s it !” I explain . “ That ’ s the head register I hope you ’ ll be willing to use - we ’ ll need you to use . Even though you might feel that the head register doesn ’ t sound as good or maybe isn ’ t as comfortable , I believe you ’ ll find that when you ’ re all singing together , it sounds great . And if you sing like that , you ’ ll be giving permission to all the other females in the congregation to use that part of their voice too !” I make it clear to the singers that I would not ask any of them to sing a solo performance in that register if it made them uncomfortable . But when several female voices are stacked together in that register - those on mic with those in the congregation - it ’ s the sound we ’ re after ! The sound of a campfire singalong more than a concert performance .
STEP 9 - THE “ AHA ” MOMENT With just my guitar for accompaniment , we ’ ll again sing the part of the song that at first seemed too high . Take it slowly . Let each singer feel out if , how and where they might need to “ flip ” from chest to head voice . I ’ ll support by singing the melody an octave lower . Repeat a few times until we ’ re all starting to get the hang of it .
STEP 10 - APPLICATION I ’ ll ask the singer ( s ) who was / were struggling , how they feel . Ask if they ’ d be willing to continue to explore “ head register ” please . In each case so far , the women have been willing . I thank them from the bottom of my heart for their courage and willingness to serve in this way . And I mean it ! I ask other female singers - especially those who had no problem with the C5 - to encourage , thank and affirm those who are taking new steps as singers - especially after I ’ ve gone .
We head back to the rest of the band and try again .
CONCLUSION That ’ s it ! That ’ s my process - a least as it exists right now . I ’ m sure I ’ ll find ways of improving it moving forward but I hope - even in this rather early stage of development - it ’ s useful to you .
If you try it , please drop me a line . I ’ d love to hear how it works for you .
Grant Norsworthy founder of MoreThanMusicMentor . com