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Voice registers (male)

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KWC017
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Lately I’ve been trying to sing a lot of songs originally sung by female singers (I’m a male), and I’ve discovered that although I can sing almost every single note, it’s really difficult for me to “connect” the notes: it feels like there are three different ways of singing and between all three of them I feel some sort of break. I’ve too little knowledge about what is going on and about how I can improve my voice, so I was wondering if one of you could help me; I'd be very grateful.

First, there’s the “normal” chest voice (my range is about F(#)2-B4/C5).

Second, there’s some kind of voice (range: up to D(#)5) that feels really light, relaxed and comfortable to use. If I change between this type and my chest voice, I feel a small “break”, but if I admit some air, it will sound quite similar to my chest voice.

Third, there’s something (range: up to about B5; I’ve reached D#6 once) that feels more like producing a sound than like singing. It sounds quite loud and it's really difficult to make it sound less loud. While changing between this type of voice and the second type I feel quite a heavy “break” (around D#5). Unlike with the first and second type, there’s no transition zone: I’m not able to sing lower than E5 using this voice.

(I’ve understood that there are disagreements about what exactly is falsetto/head voice/etc.; therefore I haven’t used these words deliberately)

Could anyone provide me with some advice on connecting these voice types? For example, what would be the best way to erase these breaks, especially between the second and third type of voice? What do I have to do in order to control the third type of voice? Is there some way I could extend the range of the second type of voice? What is actually going on in my throat?

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I feel a similar sense of these registers. The first two and common chest/head or chest/falsetto. The third one is more of a rare thing that I also find my voice can do. It's not whistle voice, I'd describe it more like a reinforced high falsetto.

What I did and what I recommend is only work with the first and second one for like 98% of the time. Study with a teacher and work on mixing those through the middle where they overlap. After a few years of training you should be able to connect them to feel and sound like one voice that never flips, but you will also have the option to go back to flipping between them if you need to.

The third one, if it's the same thing I've found in my voice...you can potentially use it to sing stuff like the high part of Dream on, or the very high note in Bohemian Rhapsody, but you have to understand the audience's reaction to it will be rather unique. It is wild and surprising and entertaining, creates a kind of comical, WTF effect, and some people may find it impressive despite it sounding very unrefined, so for casual settings it's a killer sound to whip out and surprise your friends lol! BUT like you said it's less of a legitimate singing sound...it's kind of thing where if you used it in a serious audio recording on a lead vocal it might not come off as well. Also a side note important to know, this third sound will probably make you go hoarse very quickly, so don't overdo it. It's essentially an effect...think of it like that...

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