Head voice/falsetto confusion....is this flogging a dead horse?

[Rick Jones]

I apologise if you have been over this many times, I asked in my thread about "covering", but that thread has gone over my head now with technical terms etc.

I posted one of my original songs on that thread....

I was told by Guitartrek that I use falsetto to get higher notes, when I always believed it was my head voice, as I have a whole other voice that is lighter and more girly sounding.

So how do I access my head voice? Newb question!

I am completely baffled as to how to get powerful high notes with any aggression...at present my high notes are very gentle and soft.

Even "pulling chest" I top out early, around E4 I think....surely that's not right?

[Sheepdog]

It's unfortunate that there are so many different definitions of "head voice" and "falsetto"... It shouldn't have to be so confusing.

As I understand it, falsetto is just a non-adducted (airy) form of head voice. Robert Lunte would say that falsetto is a "style", not a register. So if you're singing those higher notes above your break (without shouting), you're already doing it in head voice... just not a very adducted head voice. So the question is not, "how do I sing in head voice", but rather "how do I make head voice sound more full?".

I struggle with getting a full sound in head voice myself, but I just had a skype lesson with Robert the other day where he got some fairly full-sounding high C's out of me. I think there were several factors that made it work. I was already somewhat comfortable with "bridging" from chest voice to head voice because of all the lip rolls the Singing Success programs have you do; it is extremely important to be able to "pull back" on the force you're applying instead of pushing as you go higher. When this happens, you will notice that your tone gets lighter and more airy as well. That's where mouth shape, twang and vowels come in. "Twang" increases the closure of the vocal folds, getting rid of the airy sound, while using vowels and mouth shape correctly will amplify the overtones that give head voice a "full", powerful sound. If one part of this puzzle isn't right, nothing will work correctly, which is why it's so important to actually have a lesson as opposed to just reading about it. (It only took me about 3 years of reading to figure this out!)

[gracesong]

The way I see it, there are varying degrees of falsetto. For men, there's the breathy, girly-sounding falsetto you spoke of but then there is the stronger falsetto. However, as you continue down the line in allowing the folds to close more, you get reinforced falsetto and then head voice.

After you've got head voice down, you can then blend in some chest voice for a good mix. I would suggest you do chromatic slides down from mid-high falsetto notes to just below your break.

If you top out at around E in chest voice, then go down to about C#in those chromatic slides down.

Gradually add more weight as you descend, but don't push for volume. It's gonna take time for your falsetto to strengthen, but just give it time.

I would suggest you use a vowel like "aw" to keep the larynx relatively low and to encourage a healthy mix of both head and chest as you descend. Be sure not to tighten anything at the throat, and support the breath with your body.

Hope that helped, and if you've got questions, ask away! :)

[ronws]

It's unfortunate that there are so many different definitions of "head voice" and "falsetto"... It shouldn't have to be so confusing.

As I understand it, falsetto is just a non-adducted (airy) form of head voice. Robert Lunte would say that falsetto is a "style", not a register. So if you're singing those higher notes above your break (without shouting), you're already doing it in head voice... just not a very adducted head voice. So the question is not, "how do I sing in head voice", but rather "how do I make head voice sound more full?".

I struggle with getting a full sound in head voice myself, but I just had a skype lesson with Robert the other day where he got some fairly full-sounding high C's out of me. I think there were several factors that made it work. I was already somewhat comfortable with "bridging" from chest voice to head voice because of all the lip rolls the Singing Success programs have you do; it is extremely important to be able to "pull back" on the force you're applying instead of pushing as you go higher. When this happens, you will notice that your tone gets lighter and more airy as well. That's where mouth shape, twang and vowels come in. "Twang" increases the closure of the vocal folds, getting rid of the airy sound, while using vowels and mouth shape correctly will amplify the overtones that give head voice a "full", powerful sound. If one part of this puzzle isn't right, nothing will work correctly, which is why it's so important to actually have a lesson as opposed to just reading about it. (It only took me about 3 years of reading to figure this out!)

Excellent reply. I plan to re-record an example I made for Snejk on the use of falsetto and "full voice" in the same range in the same song to illustrate the difference. It's the beginning and chorus of the song "Better" by Guns and Roses from their album, Chinese Democracy.

I was going to link in a video but the only ones left are live performances where it is difficult, because of sound quality to illustrate the difference. So, as soon as I can make a better recording, I will link.

[Matt]

So how do I access my head voice?

I agree with others: adduct the vocal folds! Thats the big diff! Its like playing a note on a guitar and not pressing down enough on the neck to get a proper tone and leaving an albeit very small gap between the string and the neck, versus pressing the string fully against the neck and letting it ring freely and clearly.

[Rick Jones]

I agree with others: adduct the vocal folds! Thats the big diff! Its like playing a note on a guitar and not pressing down enough on the neck to get a proper tone and leaving an albeit very small gap between the string and the neck, versus pressing the string fully against the neck and letting it ring freely and clearly.

Thanks for the advice people, especially the excercises.

Matt, sorry to be pedantic, but when you play guitar if you are touching the fingerboard you either have worn frets or are using too much force. The point of contact for pitch is the fret, it's a pet gripe of mine with students! You'll get around the guitar with more ease,better intonation and less chance of RSI if you don't try and touch wood everytime you fret.

But as for adducting the cords, I have no idea of the physical process or feeling involved.. I wish I could afford lessons.

[gno]

Rick - My path to head voice was through my passagio. I had to learn to bridge my chest starting at E4 to my head at A4, then my head voice naturally emerged. I really don't know how to take a falsetto and work downward.

Some vowels have lower passagio points (you can get you into the passagio lower than E4). Try singing "ng" major scale starting at A3 and go up. You should find that breaking the E4 barrier is much easier.

Another way to get the feeling of passagio - start an A major scale going from A3 to E4 - start with the vowel "ah". But when you reach E4 - change the vowel to "oh". "oh" has a lower passagio point than "ah" and you your voice should feel much less stressed on E4 with "oh" than "ah". Once you get that feeling, you need to try to make the "oh" sound like an "ah" at E4. That is essentially the "trick". Once you learn the trick you still have to practice.

[Martin H]

As I see it from the CVT point of view there really are no "passagio". There's only this undesired "break" around E4-G4 if you don't obey the rules of one of the 4 modes.

Rick Jones,

You say that you top at E4 and call it "pulling chest". Well, usually "pulling chest" is the Overdrive mode in CVT and if you obey the rules within that mode you will be able to take it much higher:

http://www.box.net/shared/6x87ftv47v

My point is that you don't have to do any fancy moves in the "passagio"...just stick to the vocal mode. :)

[Robert Lunte]

Sheepdog said it best...

Start by understanding that:

1). Falsetto and Head Voice are not the same thing!

2). Falsetto is a vocal mode (a vocal mode is a specific laryngeal physiology that produces a unique kind of phonation, some of these phonations we used for speech, some we use for singing, etc...). The Three most important vocal modes to become well versed and expert in for singing contemporary music are: Distortion (but least important right now for you...), Falsetto (because even though you dont want to sing in this sound, you must use it for your training), and most importantly, Twang. Understanding and Mastering twang will transform your singing forever!! I can not emphasize enough how powerful mastery of this vocal mode is!

Falsetto vocal mode is characterized, among other things, by an open glottis (the space between the vocal folds), so much so that the sound is "windy" and Falsetto only exists in the head voice. So Falsetto is a vocal mode, its maybe a "color" you can phonate while in the head voice. Its always that "windy" / "girly" sound we guys get in the head voice.

3). Head Voice is a register. Its the "PLACE" where high pitches are phonated. Its that "other" voice that doesnt feel like chest voice. Most people are first introduced to the Head Voice by phonating in Falsetto mode. (this is why its important to be able to phonate Falsetto in your training, because it helps singers find the placements of where head tones sit... eventually, Falsetto phonations grow into Twangy-"Belt-Like" phonations in the same placements and thats when it sounds cool... thats when its what your looking for.

So the work flow to solve your problem is fundamentally two-fold:

1. You need to learn to bridge from your chest register to your head register properly, without inducing constriction or breaking. This takes practice of very specific techniques and gobs of practice.

... once you have mastered bridging... your head tones could still be falsetto at this stage.... you then...

2. Begin to learn to replace Falsetto mode to Twang mode in the head voice, in the same placements you established when working on your bridging.

Im really pretty good at teaching people how to do this, and would be happy to help you over an internet lesson if you like.

www.thevocaliststudio.com/internetlessons

*** Martin: I have been to one of Cathrine's workshops in London, read the book and am aware that Cathrine is one of these voice teachers that teaches that the Passagio doesnt exist or that we should not have pedagogy around bridging registers. Now I admire a lot about what Cathrine is doing and her pedagogy, she's great... but one thing I ademently do not agree with is this "the Passagio doesnt exist" idea. Dude, it does. And you know it does. And you know that there are thousands of singers every day struggling with it, thousands of postings on this forum discussing it and Im hear to tell you as a voice coach that specializes in this with singers about 30 hours a week... it exists and ignoring or trying to "will it away with visualization techniques" is, in my opinion, not the best approach on helping singers to blend registers.

You refer to the CVT vocal modes.. which as you know are just different names for the same original Estillian vocal modes that were innovated by Jo Estill years ago. You are absolutely right... if the laryngeal configuration is set up correctly, you will be able to bridge. But that is part of learning how to bridge... understanding that and recognizing that the Passagio DOES exist and having a solution to deal with it is better method for learning to bridge the registers than ignoring it... or frankly, pretending that it doesnt exist and teaching people a "work 'round".

I think singers need to touch it, feel it and understand what it is... and then apply the solution set to get it fixed. Lastly, applying vocal modes is only part of the solution to bridging... you also have to train the timing... and I dont see any pedagogy that is addressing the timing issue of register bridging in CVT pedagogy.

Not arguing with you here, just talking shop.

So this will probably blow up into a big discussion... but before that happens... Rick, thats your answer... sheepdog is correct and if you want me to help you, I can and will pretty much gurantee you that you will learn how to do it and get your problem resolved...

Hope this helps.

http://www.youtube.com/watch?v=4sBLE3TKv-Y

[Martin H]

Robert,

On this matter, I will get back to you as soon as possible.

But I have to be honest.... The "passagio" is only there because YOU put it there. And frankly why shouldn't you? The "lift up pull back" is a "motto" of your technique....and it's a big part of your pedagogy: http://www.youtube.com/user/roblunte#p/u/35/X8zroG9QWNc

...But really it doesn't exist...

More on that later...

PS. I'm actually very pleased that I'm NOT affiliated with any method/technique/pedagogy out there...My posts are purely Martin H. ;)

[Matt]

Agreed, fret is correct, I was just going for the colloquial short cut :P

[Rick Jones]

As I see it from the CVT point of view there really are no "passagio". There's only this undesired "break" around E4-G4 if you don't obey the rules of one of the 4 modes.

Rick Jones,

You say that you top at E4 and call it "pulling chest". Well, usually "pulling chest" is the Overdrive mode in CVT and if you obey the rules within that mode you will be able to take it much higher:

http://www.box.net/shared/6x87ftv47v

My point is that you don't have to do any fancy moves in the "passagio"...just stick to the vocal mode.

Hmmmm.....my E4 is very strained though, only doable at huge volume, and I figured I was injuring myself, although it doesn't leave me hoarse. It has distortion or rasp on it and I can't do it clean.

I absolutely have a break between where I am in that falsetto I use, if I sing a slide or scale, there is a clunk....I have done the witch cackle thing and reduced the clucnk, but it's not a useable sound...it sounds like a cartoon character...or a very very bad Axl Rose parody.

Sheepdog said it best...

Start by understanding that:

1). Falsetto and Head Voice are not the same thing!

2). Falsetto is a vocal mode (a vocal mode is a specific laryngeal physiology that produces a unique kind of phonation, some of these phonations we used for speech, some we use for singing, etc...). The Three most important vocal modes to become well versed and expert in for singing contemporary music are: Distortion (but least important right now for you...), Falsetto (because even though you dont want to sing in this sound, you must use it for your training), and most importantly, Twang. Understanding and Mastering twang will transform your singing forever!! I can not emphasize enough how powerful mastery of this vocal mode is!

Falsetto vocal mode is characterized, among other things, by an open glottis (the space between the vocal folds), so much so that the sound is "windy" and Falsetto only exists in the head voice. So Falsetto is a vocal mode, its maybe a "color" you can phonate while in the head voice. Its always that "windy" / "girly" sound we guys get in the head voice.

3). Head Voice is a register. Its the "PLACE" where high pitches are phonated. Its that "other" voice that doesnt feel like chest voice. Most people are first introduced to the Head Voice by phonating in Falsetto mode. (this is why its important to be able to phonate Falsetto in your training, because it helps singers find the placements of where head tones sit... eventually, Falsetto phonations grow into Twangy-"Belt-Like" phonations in the same placements and thats when it sounds cool... thats when its what your looking for.

So the work flow to solve your problem is fundamentally two-fold:

1. You need to learn to bridge from your chest register to your head register properly, without inducing constriction or breaking. This takes practice of very specific techniques and gobs of practice.

... once you have mastered bridging... your head tones could still be falsetto at this stage.... you then...

2. Begin to learn to replace Falsetto mode to Twang mode in the head voice, in the same placements you established when working on your bridging.

Im really pretty good at teaching people how to do this, and would be happy to help you over an internet lesson if you like.

www.thevocaliststudio.com/internetlessons

.....

So this will probably blow up into a big discussion... but before that happens... Rick, thats your answer... sheepdog is correct and if you want me to help you, I can and will pretty much gurantee you that you will learn how to do it and get your problem resolved...

Hope this helps.

http://www.youtube.com/watch?v=4sBLE3TKv-Y

Thankyou Robert, one for the great concise explaination, and two for the link.....I am working on affording this, and you are definately my choice of instructor once I get my finances in order. I am going to a local singing teacher next tuesday for a free trial, she is very much a "show" type singer, stage shows and the like, but I don't think she understands the growl and distortion stuff that I one day hope to get down, so I will probably re direct my budget.

Thanks for the time you took explaining so well!

Rick - My path to head voice was through my passagio. I had to learn to bridge my chest starting at E4 to my head at A4, then my head voice naturally emerged. I really don't know how to take a falsetto and work downward.

Some vowels have lower passagio points (you can get you into the passagio lower than E4). Try singing "ng" major scale starting at A3 and go up. You should find that breaking the E4 barrier is much easier.

Another way to get the feeling of passagio - start an A major scale going from A3 to E4 - start with the vowel "ah". But when you reach E4 - change the vowel to "oh". "oh" has a lower passagio point than "ah" and you your voice should feel much less stressed on E4 with "oh" than "ah". Once you get that feeling, you need to try to make the "oh" sound like an "ah" at E4. That is essentially the "trick". Once you learn the trick you still have to practice.

Geno, thankyou, I have a cold that arrived last night but I'm saving this to try it out when it's passed, having heard your "dust in the wind" I can safely say you have a fine upper range.... interesting you worked up to it, whereas I may be working down!

I am naturally a baritone I guess, I can sing the low E or F on my guitar with relative ease, and even lower with a goofy yawn voice, and I always thought this would negate singing higher stuff, good to know I may be able to achieve it.

[Robert Lunte]

:rolleyes:

Robert,

On this matter, I will get back to you as soon as possible.

But I have to be honest.... The "passagio" is only there because YOU put it there. And frankly why shouldn't you? The "lift up pull back" is a "motto" of your technique....and you "earn on this approach": http://www.youtube.com/user/roblunte#p/u/35/X8zroG9QWNc

...But really it doesn't exist...

More on that later...

PS. I'm actually very pleased that I'm NOT affiliated with any method/technique/pedagogy out there...My posts are purely Martin H.

Do us both a favor, and refrain from making argumentative points that have to do with how I, "earn on this approach". I do find it to be softly offensive. First of all, whats wrong with making a living? 2nd, consider the fact that the very forum that which we bantor and educate upon at this very moment, ... I maintain while your sleeping and drinking beers at the pub... , almost voluntarily, with my own money and time and energy... for the benefit of singers... to inclide YOU.

CVT is one of the biggest "profit making vocal machines" in the world and you know what, .. good for CVT, she (Cathrine Sadolin) developed a good pedagogy, worked hard for it and is helping people. She deserves to make a living helping people learn to sing as well.

How is it that I am responsible for putting the Passagio on all singers, worldwide, ... for the last four centuries?

3rd, the very fact that you stop to explain that you dont believe in pedagogy that teaches the Passagio, and simply use application of proper vodal modes to resolve the problem... verifies that you do identify its existence.

You and your buddies at "the passagio doesnt exist" CVT, choose to deal with it by phonating in the proper vocal mode to remove the issue and then pretending that your "not dealing with it"... then say, "see, it never existed"... TVS chooses to deal with it with the same solution, add to that, "lift up / pull back" for beginners to learn to silence the constrictors and get their timing right and then say, "see, it did exist, now its gone... we understand what it is, and how to fix it now". Im not going to ignore the "Passagio". Im going to develop techniques to deal with it head on, instead of denying its existence and help people get it resolved.

I think this is also a bit about context. "Passagio" is a broad term in some ways... its used to describe the "passage" between the two registers, thats all, good or bad, trained or untrained... So I ask you Martin, if you dont believe that the Passagio exists, then you would have to believe that voice is 1 big giant register and there is not a chest voice and a head voice.... Are you suggesting that there are not two distinct vocal registers Martin?

[VideoHere]

if i can chime in on this discusion, (this is a good one). i was confused on this for a while.

for me personally, the way i really got in touch with falsetto vs. head is to feel the "transition" from falsetto to head voice via the messa di voce exercise. i swear by that exercise. i start on a light airy falsetto sound of "yaaaaa" (as is "yay") beginning at e4 and swell the sound from falsetto (soft voice, soft volume) to head voice (loud and ringing strong). i never had a clue how chesty-sounding a head tone can get if you so desire.

now i posted this clip below (far from perfect) and you will hear all kinds of blips and breaks and skips. it won't be smooth and connected. it's a very difficult (if not the most difficult) vocal exercise you can do they say. but as you do this exercise you will become "acqainted" with how a falsetto sound can turn into a rich head tone..... guaranteed. remember i'm supposed to connect smoothly, but it can take a very long time to reasonably do this consistently. (and this is a basic version!!!)

so just listen for the beginning, middle, and end tones and ignore my mistakes and you'll even hear my "gear changes" (which is what you seek to eliminate(lol).)

p.s. i should have warmed up. i'm a little pitchy too, but it really is good to do.

i've got a ways to go, but even bad, this exercise has improved my singing.

http://www.box.net/shared/35fusdqdg1

[Jens]

Robert really what martin mean is that, the passagio is just lack of technique/wrong vocal setup in the given "mode" lets say overdrive. In your approach and in many approaches you deal with this uncoordination by switching vocalmode, hence the "passagio" is created. The thing is you dont have to switch vocalmode/cover bridge there.

You can if you have good techique just continue in the same manner.

"You and your buddies at "the passagio doesnt exist" CVT, choose to deal with it by phonating in the proper vocal mode to remove the issue and then pretending that your "not dealing with it"

Statements like this is incorrect, in cvt you can use all modes and sounds and vowels in the passagio area if you obey the rules of the modes(use correct mode for the rightvowel and vocalsetup/support and nessecary twang) We have all heard martin gone way aboce the passagio without bridgeing in several clips on this forum as an example.

""passage" between the two registers, thats all, good or bad, trained or untrained... "

This is a great statement, this is probably they key to understanding each other here, the "passagio" is what CVT calls a modeswitch.

Then we are suddenly on the same page here.

Imagine you have a singer with a very strong "chestvoice" he can both hit the A4 AND B4 in chestvoice, briding up to "headvoice" from that spot will not be a impossibility right? But then suddenly we are already briding above the passagio, This is what martin refers to, the modeswitch(passagio) is not a area set in stone if you have very good technique it's where you want it to be.

As usuall i think it's just the diffrent terminologies and such that gets this fired up, you would probably be on the same page if you met and talked about it.

[ronws]

Potay-to, potah-to. Even if it's a change in nomenclature, which sometimes leads to paradigm shift, there is still a passagio effect. Saying that a passagio doesn't exist doesn't make it go away. Whatever techniques we use to get around or through what is essentially a resonance and sound generation problem doesn't make the passagio go away. What differs is how successful a person is dealing with that troublesome patch.

Personally, what I think leads to passagio problems is that we still try to phonate a word in singing the same way we would in speaking. And that was my main confusion with "sing like you speak." I think you necessarily have to change how you phonate or pronounce a word in order to create the right note and the stumbling blocks are dipthongs with weak aspirants, like the letter 'r' or the letter 'y' or even the heavier aspirant, 'h'. Also, I think, for some parts of the range, trying to use air pressure that may be fine in speaking or even shouting but it overdrives too much in singing.

Crap, I've got to get to work. Maybe later.

[Martin H]

Robert,

Jens's respond is very much what I was going to say.

And by the way I'm sorry if you got a bit offended...that was NEVER my intend. Maybe it's because I'm not a native english speaker....anyways sorry if it offended you.! My intend was just to tell you that I understand why you use the "passagio" approach because it's a big part of your system...that's it. Friends?

PS. I edited my previous post.

[Jens]

Yeah these discussions is always hot as hell hehe But thats the beauty, the thing thats not so good is that people a reading in right and wrong in many statments.

This is not a question about whats right and wrong, Passagio or no passagio it's more a question about...

What sounds can i make from C4-C5? And how do i make them. From this we hear the passagioapproach wich is basicly a gearchange to a lighter vocalmode using certain vowels and masking this gearchange.

Or the other stay in the same "mode" but staying balanced and using correct vowels.

The same with falsetto, when i started people always told me i was singing in falsetto. I trained it some years added some twang, then all off a sudden people commented on my powerfullheadvoice.

[VideoHere]

You say that you top at E4 and call it "pulling chest". Well, usually "pulling chest" is the Overdrive mode in CVT and if you obey the rules within that mode you will be able to take it much higher:

http://www.box.net/shared/6x87ftv47v)

martin, in this vocal you "transitioned" whether you call it a "mode switch", a "passagio" (and there is a passagio, pavarotti?) whatever you want to call it, it was a transition otherwise you would have locked up, correct? and please answer my queston. thank you.

[Martin H]

Videohere,

No there is no transition in this clip. It's the same mode(Overdrive) all the way up. :)

[VideoHere]

it's more a question about What sounds can i make from C4-C5? And how do i make them. From this we hear the passagio approach wich is basicly a gearchange to a lighter vocalmode using certain vowels and masking this gearchange.

jens, i just posted a clip above transitioning top down from falsetto to head. in defense of the "paggagio" team (lol) you can transition (if you're strong enough i guess) through the passagio into a serously strong head voice the likes of a chest voice. you don't nescessarilly have to "gearchange" to a lighter mode to make the transition.

but let's all agree one one key point and that is some kind of transitionary adjustment has to take place to sing notes with no break otherwise we just eliminated a seriously iintegral part of why we're all training!.

[Mr Bounce]

It's interesting how there is so much fighting between vocal pedagogies, SS, CVT, "Bel Canto," Lunte, etc. It is very helpful for untrained novices such as myself! Everyone hating on one training style would be the death of all good learning.

I see a passagio as a region of pitches in ones' vocal range where, to maintain a steady vocal production, one must make more significant changes in the musculature than in other regions of ones' range.

A great singer with a technique that allows him to do what he wants will say that these do not exist, but I know that there is a funny little area around Bb3, Eb4 and Bb4 for me, and from having spoken with other amateur singers, we know that there are points in the human vocal range that need more work than others.

[VideoHere]

Videohere,

No there is no transition in this clip. It's the same mode(Overdrive) all the way up.

respectfully, i have to disagree. yes, maybe the mode is the same, but an "adjustment" of some kind had to have been made. you're just so skilled at it, it's second nature to you. your not cognisant as it is ingrained into your subconcious.

steve could probably articulate on what it is that happens.

the vast majority of the folks that are learning to make this transition having never done it before, i guarantee you will either lock up or muscle their way through before they get it. this is a vocal skill tht few develop without help.

[Martin H]

Videohere,

Also compare these to clips:

Time: 2:07 - 2:16

http://www.youtube.com/user/roblunte#p/u/35/X8zroG9QWNc

And:

http://www.box.net/shared/6x87ftv47v

You can clearly hear the difference. Also note that I'm standing like 8 meters away from the mic compared to Robert. If he had sung it away from the mic he would have been a lot more quiet:)

[VideoHere]

Videohere,

Also compare these to clips:

Time: 2:07 - 2:16

http://www.youtube.com/user/roblunte#p/u/35/X8zroG9QWNc

And:

http://www.box.net/shared/6x87ftv47v

You can clearly hear the difference. Also note that I'm standing like 8 meters away from the mic compared to Robert. If he had sung it away from the mic he would have been a lot more quiet:)

martin, i'm bob b.t.w.

yes, i completely hear and understand the difference.

but you have additional "vocal weight" a skill and muscularity which i tend to like and shoot for as well. i think once the novice singer gets aquainted or perhaps "discovers" his head tones the next level up is to add that vocal weight and chestiness and power as i attempted to do above. did you hear (although the exercise is flawed) how i added more vocal weight as i transitioned? i was 8 feet away from my little logitec mic and could have sung louder (lol). and i'll bet rob's, jaime vendera's, and most definitely ken tamplin's advanced lessons have to do with adding weight to the head tone.

your comments?