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The pure head voice&chest sound

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MetalHensen
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Hello,

I think this is an old topic, but please check it out!

Before my discussion, my personal definitions are:

about the vocal cord:

chest voice (speaking voice)

head voice (adduct part of the partial vocal cord)

about the resonance:

chest resonance(effective enlarge the volume of low notes)

head resonance(effective enlarge the volume of high notes)

First of all, I know there are many vocal coaches using a technic called zipping or head /middle voice.

The standard example is

Its very obviously to hear that he used the pure head voice (not falsetto)

But if you compare the voice to Michellae Sweet or Michele Luppi

You may notice the difference of the technic.

To my ear, what I hear is that Michellae Sweet or Michele Luppi they don't use the zipping until very high notes, but they use the chest voice.

The difference between the technics is the zipping sounds like a naked, straight line,weightless voice. But the chest voice is the voice wrapped by something.

I don't think Luppi or Sweet they are using zipping(except very high notes).

Guys you can hear the difference by my voice

This is the zipping(insufficient of trainning)

http://www.sendspace.com/file/ur7vws

And this is my chest voice with head "resonance"

http://www.sendspace.com/file/3d4dc8

My feeling of my chest voice is that I don't do any zipping, I just sing the same way from bottom to up.(Is this called belting?)

But here comes a very big problem(to me). Its about the warm up.

I could always sing head voice without warm up. But the chest voice(or belting) needs much much much of warm ups.

If I wake up in the morning, I could hardly use the belting without strain. I need hours of warm up exercises, till 4 p.m.

So If I record my belting in the morning, you may hear much strains of my voice or yodeling.

The GOLDEN TIME of my chest voice is after 6 p.m, so I could sing without any strain.

But the problem is, I need couple of hours to wake up this state , its too long especially if I have a gig in the afternoon.

I don't find any effective warm up exercise which could shorten the warm up time for my chest voice. Siren is effective to whom use the head voice but not belting voice. Same of lip rolls.

So I don't know how to do to deal with the long time of warm ups.

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Well first of the zipping technique is just a great visualization technique to narrow the vocaltract and getting glottis to close higher up in the range.

And i wouldnt say michelle luppi is using belting more of a very balanced mix notice how he always kindo floats up there whitout much of an effort he never gets shouty even on the more extremehighnotes. He could ofc be in a belting mode but i dont think so it's almost a girlsound to his voice.

Belting has many diffrent sound depending on who u ask to me this is considered belting

and this often you hear musicalsingers have very clear belting and you can hear that by the amount of twang used.

Belting to me is more or less a thinning of chestvoice with twang or pharyngealvoice.

http://www.youtube.com/watch?v=tXaEafnklg4 drew sarich

But what we are talking about here isnt that important, this is just terminology and you will get loads of diffrent answears! The thing is youve only got one voice as jaime always puts this and all the diffrent larygeal configurations arent that far apart. You can have more or less chest up on top it's basicly just that we are putting names on and categorizing now.

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Well first of the zipping technique is just a great visualization technique to narrow the vocaltract and getting glottis to close higher up in the range.

And i wouldnt say michelle luppi is using belting more of a very balanced mix notice how he always kindo floats up there whitout much of an effort he never gets shouty even on the more extremehighnotes. He could ofc be in a belting mode but i dont think so it's almost a girlsound to his voice.

Belting has many diffrent sound depending on who u ask to me this is considered belting

and this often you hear musicalsingers have very clear belting and you can hear that by the amount of twang used.

Belting to me is more or less a thinning of chestvoice with twang or pharyngealvoice.

http://www.youtube.com/watch?v=tXaEafnklg4 drew sarich

But what we are talking about here isnt that important, this is just terminology and you will get loads of diffrent answears! The thing is youve only got one voice as jaime always puts this and all the diffrent larygeal configurations arent that far apart. You can have more or less chest up on top it's basicly just that we are putting names on and categorizing now.

Yes, the voice could have different configurations depends on how far between the 2 cords. But what I trying to say is that, I don't think the chest voice and the head voice are the same voice in different colors

I also have Jaime's book, I think what he say is that falsetto and "head voice" are the same voice in different colors. Not "chest voice" and "head voice" are the same voice in different colors.

There are 2 ways to raise up the voice, 1 is to stretch the rubber band, another one is by zipping.

So what I do is using the same muscle of the chest voice to reach high notes. No zipping or adducting muscles involved.

Such that I cannot switch from chest configuration to zipping one.(Or maybe I have no such skill, but at least to me, its imposible)

There is a very very huge gap of feeling between chest and zipping(to me). The feeling is very different( one is extend, another is adduct), and the tone is different.

So I do believe zipping is not just a visualization technique , but its real zipping. Because I never feel any extending feel on my vocal cords when I zipping, but if I do the belting, I feel a strong extending feel on the cords.

If I am not stretching the rubber band, then the another way to raise up the voice MUST be zipping(like the gutar, put on the fingers on the board, then its equal to shorten the string(s), so we can raise up the notes) And no, thinning the cord could only change the tone, not the notes.

Sorry but I don't know what is twang? And what is the pharyngealvoice? Are they the same as zipping?

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Hi MetalHensen,

as far as i know vocal scientists have found that the zipping up theory doesnt actually take place. the latest findings of the transfer from chest to middle/mixed to head voice happen through a interaction/transaction of the cricothyroid and the thyroarytenoid muscles along with interaction/transaction of the resonance of the registers.

in regards to how thick, weighty or powerful the head voice is, this comes down to many aspects such as how well the vocal folds are adducted, how much width and depth of the fold is involved in adduction and vibration, where the adduction is taking place on the fold (in regards to depth mass), how long the fold is closed for during the vibration cycle and the amount of compressed air behind the glottis. (as far as i know SLS, the technique i study is starting to use the zipping up term less and less)

on saying this if you took a range of singers all doing the exact same thing with the same technique with all the things mentioned above the same, got them to sing a tenor high C, each would sound different and there would be differences in weight or depth of the note. for instance- like has been mentioned in another post someone like Dio who has a more dramatic tenor voice will have a weighty, robust, thick high C where as someone like Geoff Tate who has a more lyric tenor voice will have a lighter, brighter high C.

once again on saying this :) the big differences i can hear in Tates voice and Michele Luppi is more to do with Tate adding twang (twang being the sound that the singer Anastacia uses alot -see the video after about the 45 second mark

the character Janice from the TV series Freinds talks with http://www.youtube.com/watch?v=LOPwvFz7SP0

or like someone doing an impression of a duck quacking) Tate also, maybe because of the twang has a higher larynx. both these aspects give Tates head voice a lighter, more piecing quality. it may also have to do with Tate just using a slightly lighter head voice and of course as mentioned before maybe just naturally having a lighter head voice in the first place but i would say the larynx height/twang are the things having the biggest impact on difference in sound.

Luppis head voice is produced with a lower, closer to balanced level larynx which gives it a fuller but slightly less piecing quality, though his very highest notes sound a little more squeezed, indicating a higher larynx at those points. he also may be "leaning" into a heavier produced head voice than Tate.

as for your two clips the first is a light head voice and the other is a bit more heavier head voice- its defiantly not a belt voice. the difference between the two is that on the second one you are "leaning" more into the sound. this in a nutshell just means that you are getting stronger adduction of the folds and there is increased air compression behind the fold.

exercises that may be helpful for you to get to the second clip version in a shorter amount of time could be the creaky, edge sounds that sound a bit like a moany MMMmmm or a door creaking.

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Jens,

the belt clip you provided of drew sarich actually sounds quite close to what in SLS they would call a heavy mix and heavy head voice. it does have a bit of belt quality to it and his mouth is wide but it doesnt sound like a typical belt to me. i know there are different variations and colours of belt but this is what the typical belt sounds and looks like to me :)

at 3:45

http://www.youtube.com/watch?v=o5URPSTw0g8 at 2:57

it sounds much more shouty and brassy than the drew sarich version. also looks like it requires a lot more effort and stamina too.

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well you are probably right centre, it's just his musicalsound that comfuses me :P or his way of adding twang. And yes centre is right zipping doesnt realy occur up until flageolet register. And metalhansen what im trying to say is that you only have one voice, not two sure you probably have some tonalqualitys changeing as you go up but it's still just one voice!

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Im in agreement with Centre on this... for the most part.

Fellas.. .the zipping up idea is wrong. The vocal folds dont zip. Many of us thought they did, but they do not.

In order to get this figured out, you have to start by getting your physiology straight and the talk track. "Metal"... the opening post has a lot of mistakes in it in regards to chest vs head... adduction, etc... there is a lot of confusion here in your perception of how these vocal sounds work. But its great that you are reaching out in this forum to get clarification.

This should be your foundation:

1. the head voice is a register.

2. Falsetto, twang, belt, opera, and others are vocal modes.

3. Vocal modes represent different laryngeal configurations that produce different results.

4. Singers train to be able to sing different vocal modes.

5. You can train to sing different vocal modes in the head voice.

6. to get a strong, convincing rock/metal sound in the head voice, you will train to learn how to sing your head tones in a belted/twang configuration. this is how you get strong head tones. Twang also helps a lot with bridging.

Its all clarified in my training system, "The Four Pillars of Singing"...

I am over simplifying here... but I felt compelled to get you on the right path... its 2:00 am here in Athens and I have to go to bed.. .I have workshop tomorrow, Sat. & Sun.

Your guys are great, thanks for your help Centre.

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Hello,

about the resonance:

chest resonance(effective enlarge the volume of low notes)

head resonance(effective enlarge the volume of high notes)

When people talk about chest resonance they actually mean sympathetic vibrations. The chest doesn't resonates cause it's not a cavity:

" Let us not forget that the resonators are cavities of air, and while there is air in the lungs it certainly is not free to vibrate as an integral mass. The chest IS NOT a resonator because it's NOT a cavity! The thorax(lungs) is filled with a soft, spongy material similar to that used artificially for insulation. It would tend to absorb, NOT augment." (W. Vennard) "

Also when talking about the different vibrations in head and chest try this:

Put a hand on top of your head. Now slide from the lowest note to the highest. Did you notice that the vibrations in the head were stronger on the lowest notes??

-So low notes actually vibrates stronger in the head than high notes! You get the point? ;)

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Well...

Metalhensen I can understand why you are getting confused. You'll get a different standpoint regarding the viewpoint you take is what I'd like to say. If you examine things from a vocal fold level perception, or alswell take into account supraglottal action. Furthermore will you define things on a soundbase, like less metal or more metal?

The bottom line... There are several strategies for the voice. Depending on the vowel chosen you'll get a different sound, depending on the vocal tract shape you'll get a different sound, depending on ...

In an attempt to simplify things we try to put stuff into language the singing student will understand.

But you'll have to realise that no matter what, that the voice isn't individual parts adding up, the interact.

The best thing for you is to find a method that works for you and stick with it and practise. Don't get caught up in how people call things, they are just in their way trying to bring their knowleadge on how the voice works into language you can understand and works for you. Otherwise you'll be here in a discussion for hours hehe.

And btw to my knowleadge zipping up does occur, just in the very high parts of your voice ;>

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Although I cant confirm it... ok, to be even more clear... I heard that zipping occurs with those really freaky, super high whistle notes that you can hear on YouTube sometimes and stuff... but in the context of practical pitches we can actually use, in the head voice, it does not...

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6. to get a strong, convincing rock/metal sound in the head voice, you will train to learn how to sing your head tones in a belted/twang configuration. this is how you get strong head tones. Twang also helps a lot with bridging.

Robert, you should add pharyngeal/edge to that list of configurations. maybe you consider those to also fall into the bracket of twang but i think there is difference in sound between twang and pharyngeal/edge.

a prime example would be Tates high E in the above video on the word "reich" at 1:59 its more toward a twang sound

Luppis high E in above video on the word "touch" also at 1:59 is more toward a pharyngeal/edge sound.

not trying to stir up controversy or a massive debate or anything. just feel there different configurations/coordinations though i would imagine closely related :)

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thank you guys, I got the point, so after trying several times, I could switch from light head to what you so called heavy head(I think that is different word discribe on the same vocal mode, so that is why I define my personal definition at first). So now actually what I defined the "mode" of Chest Voice is the Heavy Head Voice.

I don't know whether the zipping is really occur. But I don't know what is the sampling of the "recent research".

You guys could see the videos on youtube, this is a vocal cord of a girl(The video is uncomfortable for some people, choose to see or not by yourself)

or this is an opera female singer's vocal cord when singing

you can all see that the vocal cords are actually not zipping, they are apart from each other.

BUT IS IT TRUE ALSO FOR EVERY ONE OR FOR MAN?

I am not sure, but you can check it out for the vocal cord of a man:

you can see the yodeling from chest voice to falsetto. but before the falsetto, the another side of the vocal cord is closed.

I don't know what/which case is what you mean the zipping. I'd seen Jaime's book and Roger Love's book, the term zipping they use is close one side of the vocal cord such that the length which could be oscillated is shorten.( Although Jaime is whom saying recent research of zipping does not exist) And the zipping of Roger Love's book is close the forward side of the cords.

So actully falsetto is the situation when the cord is suddenly open the backward side of the cords.

I am not here to argue the zipping is really occur or not. I just here to tell you that some research should be based on something.

Aspeacially what is the sampling on a research. Is the sampling base on a men? or a women? or several people ? And the most important part is

what technic he/she/they use? Although someone would say different technics would toward the same result, but is it really true on vocal cord?

For the last video(a man's vocal cord), what happen if he can bridge? Is the backward part of the vocal cord no longer fly apart?

One of my vocal coachs(he teaches opera) said that, one day he go to an E.N.T. department to check his vocal cord by a scope tube. When he sing across the passagio, he saw that his vocal cord is shrinking from a hole to a pinhole. Although he didn't called it zipping, but guys you know that this is indeed zipping, which is shorten the oscillating area, not extending the length.

Interesting, one of his student, one day SHE told me that monday she took a scoping of her vocal cord, she didn't saw any pinhole, but 2 parallel vocal cord apart from each other, and moving like a wave.

Some opera coachs they said that the a female's voice is different form a male's(I heard it from my opera teachers and some books). Aspecially for the passagio, a female's voice is actually mixing some falsetto. That is why a women would always confused with the head voice and the falsetto.

So guys let me remind you again pls, I am not here to argue is zipping really exist or not, I am here to tell you what my friends see and what they say.

I think to see is to believe.

The best way is someone(a man) who could bridge go to take a scoping.

Because I didn't find any opera male's cords video on utube. Only females.

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wow that last video you put up metalhensen is very cool. it does indeed look like some kind of zipping going on. as far as i know the zipping was supposed to take place from one side, from the bottom of the V of the folds i believe, but that looks like from both sides. very interesting stuff. maybe it was just a freak incident? who knows, you could be right and the tests that concluded that zipping doesnt occur were from people who didnt have the ability with such technique. guess we need a load of top SLS and SS people to get their throats scoped :D

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wow that last video you put up metalhensen is very cool. it does indeed look like some kind of zipping going on. as far as i know the zipping was supposed to take place from one side, from the bottom of the V of the folds i believe, but that looks like from both sides. very interesting stuff. maybe it was just a freak incident? who knows, you could be right and the tests that concluded that zipping doesnt occur were from people who didnt have the ability with such technique. guess we need a load of top SLS and SS people to get their throats scoped :D

I had 2 vocal opera coachs, one is a female teacher, another one is a male.

What they teach are so different(especially the feeling when I sing are so different)

Although that no one might be agree with this, because every one thinks that different technics toward the same result, especial for classical vocal opera approach.

What I say is that, the female coach teach me the approach that used by most of the female singers-totally release the vocal cord, don't squeeze the vocal cord. But meanwhile the male coach told me I should feel the cord squeezed, and imagine the hole is shrink to a pinhole.

Yes I can sing the way without zipping, taught by the female teacher. Jaime's book state that he could not bridge with the air sound. I think that is because the sound is too weak.

Guys you could check out my demo on the "female way", kinda air sound, weak.(I didn't mean that weak is bad)

http://www.sendspace.com/file/e2bj2a

and this is the v-shape cord singing. So that is why my coachs told me that a female would singing with mix of falsetto.

My feeling of that is also a boundle of air is passing through my cord, with much of falsetto sound.

The voice is kind of squeesed, due to my singing in the morning.

So I think in that way my cords are parallel, like the cord I'd showed by the first 2 videos, so if I want to sing higher, then I just extent the cord longer, like the first video done by the girl.

The zipping way, taught by my male coach, is an another very different feeling-air spendless, cord squeeze(but don't squeeze the throat), strong sound.

That had been showed by the chest sound demo.

And I also think in this way my cord are zipping in both end of my cord, with higher notes, the hole is shrinking.

So I have no idea, I even don't know why zipping needs to be researched->just take a scope to rocker's, opera's, male's, female's vocal cord, tell they to sing high, then the answer is solved, right? I don't mean the researchers are doing in vain, maybe their main questions are not about the zipping, because I don't know where to find that paper.

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BTW fellas... this Queensryche clip is from the "Live in Tokyo" DVD and Im telling you.. its some of the BEST metal vocals you will EVER see. If you can get your hands on this Classic,,, get it... its absolutely mind blowing, great head tones... a true master, in his prime on this tour. This was from "The Warning" album, their first full length album... young Tate. This DVD did a lot to influence me and inspire me to do what I do today...

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MetalHensen, yes sounds/exercises that add a little more squeeze/adduction do help. but personally i think its better to look at them as a training tools rather than something you would consciously add or do anytime and every time you sing. at first you might accentuate the sound/exercise to get it to work for you and build it into the muscle memory/coordination but once it is in the muscle memory you can "relax" for want of a better word and the coordination is there without having to manually add anything.

i think at the end of the day it doesnt really matter if the vocal folds really do zip up or not. if such imagery helps you to get the sound you want, use it!

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