Head voice: Difference between revisions

* A [[vocal resonation|vocal resonance]] area<ref name=McKinney>{{cite book

|title= The Diagnosis and Correction of Vocal FaultsFault

The term goes back at least as far as the Roman tradition of [[rhetoric]]al instruction. [[Quintilian]] (ca. AD 95) recommends teaching students ''ut quotiens exclamandum erit lateris conatus sit ille, non capitis'' ("that when the voice has to be raised the effort comes from the lungs and not from the head," ''Inst.'' 1.11.8, transl. Russell). The first recorded mention of the term in a musical context was around the 13th century, when it was distinguished from the throat and the chest voice (pectoris, guttoris, capitis — atcapitis—at this time it is likely head voice referred to the [[falsetto register]]) by the writers [[Johannes de Garlandia (music theorist)|Johannes de Garlandia]] and [[Jerome of Moravia]].<ref name="groveONE">The New Grove Dictionary of Music & Musicians. Edited by Stanley Sadie, Volume 6. Edmund to Fryklund. {{ISBN |1-56159-174-2}}, Copyright Macmillan 1980.</ref> The term was later adopted within [[bel canto]], the Italian opera singing method, where it was identified as the highest of three vocal registers: the [[Chest voice|chest]], passagio[[passaggio]] and head registers. This approach is still taught by some vocal pedagogistsinstructors today.<ref name=Stark>{{cite book

However, as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogistsinstructors have redefined or even abandoned the use of the term head voice.<ref name=Stark /> In particular, the use of the term '''head register''' has become controversial since [[vocal registration]] is more commonly seen today as a product of [[larynx|laryngeal]] function. For this reason, many vocal pedagogistsinstructors argue that it is meaningless to speak of registers being produced in the head. The vibratory sensations that are felt in the head are resonance phenomena and should be described in terms related to [[vocal resonance]], not to registers. These vocal pedagogistsinstructors prefer the term "head voice" over the term "head register." These vocal pedagogistsinstructors also hold that many of the problems which people identify as register problems are really problems of resonance adjustment. This helps to explain the controversy over this terminology. Also, the term head register is not used within [[speech pathology]] and is not one of the four main vocal registers identified by speech pathologists.<ref name=McKinney />

One prevailing practice within vocal pedagogy is to divide both men and women's voices into three registers. Men's voices are divided into "[[chest register]]", "head register", and "[[falsetto register]]" and women's voices into "[[chest register]]", "[[middle register]]", and "[[head register]]". According to this practice, singing in the '''head register''' feels to the singer as if the tone is resonating in his or hertheir head (rather than primarily in the chest or throat). According to an early 20th-century book written by David Clippinger, all voices have a head register, whether [[bassoBass (voice type)|bass]] or [[soprano]].<ref name="Headv">{{cite book|last=Clippinger|first=David A.|title=The Head Voice and Other Problems: Practical Talks on Singing|url=https://archive.org/details/in.ernet.dli.2015.156980|publisher=Oliver Ditson Company|year=1917|page= 12|isbn[https://archive.org/details/in.ernet.dli.2015.156980/page/n28 =12]}}[httphttps://www.gutenberg.org/etextebooks/19493 at Project Gutenberg]</ref>

Clippinger claims that [[male]]s and [[female]]s switch registers at the same absolute pitches. He also states that at about E {{music|flat}} or E above middle C, the tenor passes from what is usually called open to covered tone, but which might better be called from chest to head voice. At the same absolute pitches, the alto or soprano passes from the chest to the middle register. According to Clippinger, there is every reason to believe that the change in the mechanism for male voices into head register is the same as that which occurs in the female voice as it goes into the middle register at the same pitches.<ref name="Headv2">{{cite book|last=Clippinger|first=David A.|title=The Head Voice and Other Problems: Practical Talks on Singing|url=https://archive.org/details/in.ernet.dli.2015.156980|publisher=[[Oliver Ditson Company]]|year=1917|page=24|isbn[https://archive.org/details/in.ernet.dli.2015.156980/page/n40 =24]}}</ref>

The contemporary [[voice pedagogy|vocal pedagogy]] [[teacher|instructor]] Bill Martin seconds the view that the change from chest voice to head voice occurs at around E4E₄ in all voices, including the bass, but Martin states that in the coloratura soprano, it is more likely to occur at [[Scientific pitch notation|F4F₄]].<ref>{{cite book | last = Martin| first = Bill | title = Pro Secrets Of Heavy Rock Singing| publisher = Sanctuary Publishing| year = 2002| page = 10 | isbn = 1-86074-437-0}}</ref> A recent book by a former teacher at [[Oberlin College Conservatory of Music]] and a [[vocal]] [[pedagogy]] [[teacher]], [[Richard Miller (singer)|Richard Miller]], states that in the "tenore lirico," the higher part of the singing voice above the secondo [[passaggio]] at G4G₄ extending upwards is referred to as "full voice in head," or ''voce piena in testa'', effectively stating the head register begins at G4G₄ in the "tenore lirico," not at E4E₄.<ref name="Miller">{{cite book|last=Miller|first=Richard|title=Training Tenor Voices|publisher=Schirmer|date=March 1993|pages=3, 4 & 6|isbn =978-0-02-871397-7}}</ref> According to [[Singing For Dummies]], the bass changes from chest voice into middle voice around A3A₃ or A{{music|flat}}₃ below Middle C and changes into his head voice around D4D₄ or C{{music|sharp}}₄ above Middle C.<ref>{{cite web| url = http://www.dummies.com/WileyCDA/DummiesArticle/id-2014.html| title = Identifying the Fab Four of Singing Voices | accessdateaccess-date = 18 February 2007 | author = Pamelia S. Phillips| publisher = Wiley Publishing| quote = ''Bass'' is the lowest of the voice types...| archive-url = https://web.archive.org/web/20070310211923/http://www.dummies.com/WileyCDA/DummiesArticle/id-2014.html| archive-date = 10 March 2007| url-status = dead}}</ref>

Explanations for the physiological mechanisms behind the head voice can alter from voice teacher to voice teacher. This is because, according to Clippinger, ''"In discussing the head voice it is the purpose to avoid as much as possible the mechanical construction of the instrument"''.<ref name="Headv3">{{cite book|last=Clippinger|first=David A.|title=The Head Voice and Other Problems: Practical Talks on Singing|url=https://archive.org/details/in.ernet.dli.2015.156980|publisher=[[Oliver Ditson Company]]|year=1917|page=14|isbn[https://archive.org/details/in.ernet.dli.2015.156980/page/n30 =14]}}</ref>

However, not all vocal teachers agree with this view. Thomas Appell's 1993 book ''Can You Sing a HIGH C Without Straining?''<ref>Appell,{{cite book|page=14|url=https://books.google.com/books?id=RNMHAAAACAAJ|title=Can You Sing a HIGHHigh "C" Without Straining?:|isbn=9780963233936|publisher=Vocal UnderstandingDynamics the Break, page 14Publishing|date=2000|format=paperback|first=Thomas|last=Appell}}</ref> aimed to refute the theory that all singers switch registers at the same absolute pitch. Appell defined chest voice as resonance below the vocal folds and head voice as resonance above the vocal folds. He recorded examples of male and female singers changing from chest voice to head voice at different pitches in an attempt to prove that the transition pitch is a function of the intensity of the vocal tone and is not absolute. At higher vocal cord tension (intensity of singing), Appell shows that the pitch at which a singer transitions from chest to head voice will be higher. At lower vocal cord tension (intensity of singing), Appell shows that the pitch at which a singer transitions from chest to head voice will be lower.{{cncitation needed|date=November 2016}}

This view is that since all registers originate in laryngeal function, it is meaningless to speak of registers being produced in the head. The vibratory sensations which are felt in the head are resonance phenomena and should be described in terms related to resonance, not to registers. These vocal pedagogistsinstructors prefer the term "head voice" over the term register and divide the human voice into four registers: the [[vocal fry register]], the [[modal register]], the [[falsetto register]], and the [[whistle register]]. This view is more consistent with modern understandings of human physiology and in keeping with stroboscope videos of laryngeal function during vocal [[phonation]].<ref name=McKinney />

|journal= ClinqueClinique (Paris)

There are seven parts of the human body that act as resonators, and of those seven, the three most effective resonators that help amplify and create the most pleasing sounds are all located in the head: the [[human pharynx|pharynx]], the [[human oral cavity|oral cavity]], and the [[nasal cavity]].<ref name=McKinney />

Resonances and registration aside, the term "head voice" is commonly used to mean "high notes that are not falsetto or strained".{{Citation needed|date=February 2020}} For example, when [[Luciano Pavarotti|Pavarotti]], [[Stevie Wonder]] or [[Bill Withers]] slide from chest voice to a tenor high C5C (C₅) in full, balanced voice, this is referred to as "head voice".{{Citation needed|date=February 2020}} (Pavarotti's range was C♯3 to F5, but beyond D5 (E♭5 to F5) he sang in a strong or reinforced falsetto.)

Beginning singers who have difficulty controlling their [[vocal break]] need to be taught to eliminate and/or control the physiological conditions associated with falsetto or strain in a process called "head voice."<ref>Rock the Stage: Voice Training for Modern Singers</ref>{{Citation needed|date=October 2019}} A strong falsetto is called a reinforced falsetto and a very light head voice is called "voce di testa bianca" or <nowiki>''white head voice.''</nowiki>

High notes that are sung with balanced physiology do tend to have better resonance than falsetto or strained notes, so this definition does notdoesn't usually contradict the other two.

[[Category:Singing techniques]]