Chest register. Male and female singing voices

The singing process in modern vocal and choral pedagogy is considered from the point of view of sound formation (voice formation) and sound production (vocal technique and performance). One of important elements The process of sound formation is the uniform timbre alignment of the registers of the choir’s voices. The appearance of uniform timbre throughout the entire range, flight and endurance of voices is closely related to the work of leveling registers. This work is necessary in the high school choir and adult choir.

A register is a series of voice sounds of homogeneous timbre, extracted in the same way. Depending on the primary use of the chest or head resonators, there are chest, head

and mixed registers. The register structure of the voices of men and women is different; it depends on the structural features of the larynx.

In the female voice, due to the structure of the larynx, there are 3 natural registers: chest, medium (middle) and head. The task of the choir master is to set the choir voices to the mixed mode (mixt - mixed), so that a mixture of chest and head resonance is clearly manifested throughout the entire range. The chest register occupies a fifth or sixth in low female and children's voices, and a third in high voices. The chest register is sounded by the chest resonator, the vocal cords in this area close tightly, with their entire mass. After transitional notes (for sopranos and first altos - E flat - F sharp of the 1st octave, for second altos - C - E flat of the 1st octave), the middle register begins. This register has a naturally mixed sound. Here a mixed type of vibration of the vocal cords is observed, the head and chest resonators are voiced simultaneously.

After the second transition (for sopranos - E flat - F sharp, for altos C - E flat of the 2nd octave), the head register begins. Here the ligaments work like falsetto closure (edges), in this register the head resonator is actively voiced.

The main difficulty in leveling registers is to teach singers to correctly, that is, with a mixed sound, perform transitional notes of their range, using rounding or covering techniques for this.

The technique for leveling (smoothing) the registers of male voices is called the “covering method,” and the leveling of women’s voices is called the “rounding method.”

In modern vocal pedagogy, the use of rounding is explained by the fact that nature gives female voices a mixed voice formation in the middle register, so it is enough to use the rounding technique to transfer the mixed sound to the extreme registers so that the voice sounds even in timbre. The rounding of sound is carried out by giving the oral cavity a dome-shaped shape, where the soft palate is actively involved.

Work on leveling the registers of female voices usually begins with the central part of the range (primary zone), gradually expanding the mixed voice formation up and down the range.

In the male voice, there are two natural registers - chest and falsetto. In the chest register of the male voice, which occupies about 1.5 octaves of its range, the tight closure of tense vocal folds allows the use of strong subglottic pressure, which makes it possible to extract powerful and rich in timbre sounds, causing a distinct sensation of vibration of the chest (hence the name re -hyster). However, working in this mode is only possible up to transitional sounds (E flat - F sharp of the 1st octave for tenors, C - E flat of the 1st octave for baritones, B small - D of the 1st octave for basses). If you want to sing higher sounds, the voice “breaks” (due to a sharp change in the mechanism of voice formation) and switches to falsetto. Due to the fact that the vocal folds begin to work at the edges, the voice loses strength and timbre colors.

Thanks to the French tenor and teacher J. Dupre, the technique began to be used in male vocal practice from the late 40s of the 19th century.

cover (voix mixt sombree) when forming the upper part of the range, which increased the endurance of heavy loads and expanded the performing capabilities of opera singers.

Basic rules for mastering cover: mixing the singing sound (with dosing of chest and head resonance) in the center of the range, darkening (sombre) the voice before transitional notes, moderate sound strength and smooth breathing.

The observed darkening of the singing timbre, when using the covering technique, occurs due to the restructuring of the upper resonators and a slight expansion of the lower part of the pharynx. It has been experimentally proven that the covering technique helps relieve excess tension from the vocal folds in men during mixed sound production.

It is known that the mixed sound of a voice can be formed from a different ratio of chest and head resonance. When leveling the transition to the upper register, the voicing of the head resonator and the predominance of the falsetto part in the mixed sound begins to play an important role in male voices. This is why experienced choirmasters believe that for male singers, “when smoothing out registers, it is useful to learn to sing in the upper register with a good falsetto, using this as a means of mastering a mixed sound.” To do this, it is recommended to use scale exercises in a descending movement, from the falsetto register to the chest register, without stopping on the upper notes. During vocalization of high sounds, moments of forcing should be avoided. When moving to the chest register, singers must ensure that the timbre of the head resonance is maintained.

Exercises to align the registers of male and female voices must be performed in moderately quiet dynamics and at a leisurely pace. The melody of the exercises can be based on singing sounds, moving by seconds, thirds down and up, and also include scale-like movements and leaps by fifth – octave. It is recommended to vocalize the exercises using the vowels: u, o, a, combining them with other vowels and consonant sounds (usually sonorant consonants).

M. S. Osenneva and V. A. Samarin, addressing young choirmasters, advise: “When practicing with a choir, you should remember that the upper and lower parts of the singing range are formed only after education

etc. Particular attention is paid to rounding sounds adjacent to register boundaries. Transitional sounds should be covered. When vowels change, the shape of the lower part of the pharynx changes. So, on the vowel [у] it is expanded, the sound has a dark color. On [a] the pharynx is narrowed, the sound tends towards a light timbre. The vowels [o], [e], [i] are intermediate between [u], [a]. In order to achieve covering of individual vowels, it is recommended to sing [a] with the overtone [o], [i] with the overtone [u], [e] with a clear transition to the covered [e]. It is recommended to use the sound [y] carefully.”

Choir singing

Chanting is the vocal-auditory tuning of the choir singers. The purpose of chanting is to prepare the choir for creative work over the repertoire.

The main tasks of chanting:

Vocal and auditory mood of the choir, bringing it into working condition;

Work on exercises that form basic vocal and choral skills.

In choral practice there have developed the following principles chanting:

Systematicity and consistency;

Awareness by choir participants of vocal tasks and techniques for performing choral exercises;

Gradually increasing the complexity of exercises from simple to more complex, as vocal skills are acquired;

Strength of consolidation of vocal and choral skills.

The following forms of singing are widely used in choral singing: general choral ( full staff), group (by batch), individual.

The following exercises are usually included in choir singing:

Unison (for vocal-auditory tuning and vowel alignment);

Legato stroke exercises (to develop cantilena singing);

Exercises on various methods of sound study (legato, staccato, non legato);

Wide-ranging exercises (for leveling registers and developing singing breathing);

Harmonic exercises a cappella (for the formation of a zone system in the choir);

Exercises on diction or tongue twisters (to activate the articulatory apparatus and the emotional mood of the choir).

When choosing tongue twisters, you should pay attention to the combination of vowel sounds in them. In a beginning choir, it is more convenient to use quick-works with repeated identical vowel sounds (The clatter of hooves sends dust flying across the field). In a prepared choir, on the contrary, it is necessary to master various combinations vowels and consonants (Bulp-lipped bull, blunt-lipped bull, the bull had a dull white lip).

Fragments from the compositions being learned can be used as chanting exercises.

The average duration of chanting is 15 minutes. Shorter and longer chanting sessions are possible, associated

with a painful condition, fatigue of singers. The singing position when chanting is in a standing position (support on both legs, back straight, shoulders turned, hands free). The correct singing attitude facilitates the process of phonation.

There are two main ways to conduct chanting - with an instrument and a cappella. Each of them has its own advantages. When the instrument is used, there is the possibility of continuous audio monitoring of the quality of the singing sound and intonation ensemble with accompaniment. When chanting is carried out without the accompaniment of an instrument, the singers’ auditory control is extremely sharpened, and the skill of ensemble in the party and in the choir as a whole is developed. Therefore, it is advisable to use both methods.

When conducting chanting, the choirmaster must be able to play accompaniment to vocal exercises on the instrument, transpose them, and be able to simultaneously play, sing and conduct.

Singing is a complex process and requires coordination of all elements of the vocal apparatus. Only a well-trained specialist knows about the interaction and mutual influence of all the rather fragile organs that make up the vocal apparatus, and knows the methods and techniques for tuning it. But vocal work in the choir is not limited to the tuning and technical development of singing voices; its main task is the formation of the performing culture of the choir.

Control questions

1. Describe the significance and content of vocal work in the choir.

2. Name the basic principles, methods and forms of vocal-choral

3. Describe the uniqueness of singing breathing and the methods of working on it in the choir.

4. Justify the benefits of use different types attacks on initial stage learning to sing.

5. By what criteria is the evenness of a singing voice determined?

6. Describe the technique for equalizing the registers of male and female voices.

7. Formulate the purpose and objectives of singing the choir.

8. What are the basic principles of chanting?

9. Describe the singing attitude when singing.

10. Name the ways of conducting choir singing.

1. Barsov Yu. Vocal and performing pedagogical principles M. I. Glinka / Yu. Barsov. – L.: Music, 1968. – 68 p.

2. Zhivov V.L. Choral performance: Theory. Methodology. Practice:

textbook allowance / V. L. Zhivov. – M.: Vlados, 2003. – P. 271 p.

3. Kazachkov S. A. From lesson to concert / S. A. Kazachkov. – Kazan: Kazan University Publishing House, 1990. – P. 191–270.

4. Kochneva I., Yakovleva A. Vocal dictionary / I. Kochneva, A. Yakovleva - L.: Music, 1988. - 72 p.

5. Nikolskaya-Beregovskaya K.F. Russian vocal and choral school from antiquity to the 21st century: textbook. allowance / K. F. Nikolskaya-Beregovskaya. – M.:

Vlados, 2003. – pp. 90–118, 140–191.

6. Osenneva M. S., Samarin V. A. Choir class and practical work with choir: textbook. allowance / M. S. Osenneva, V. A. Samarin. – M.: Academa, 2003. – 190 p.

8. Chabanny V. F. Musical and pedagogical management of choral amateurism as a process: textbook. allowance / V. F. Chabanny. – St. Petersburg:

SPbGUKI, 2008. – Part 2. – pp. 59–189.

9. Yakovleva A. Formation of the upper part of the range of male voices / A. Yakovleva // Questions of vocal pedagogy. – M.:

Music, 1984. – Vol. 7. – pp. 73–86.

Voice registers

types of timbre in the human voice, both male and female. The chest register belongs to the lower part of the voice; its sounds are free and thick. The head R. belongs to the upper part of the voice; sounds are less natural and have more tension. The mixture of both R. occurs in the middle part of the voice and is called the middle R., or medium. In the male voice, the upper, purely head notes are called falsetto, or fistula (see Voice). In organs, the name P. is given to pistons that open air access to a certain set of flutes or pipes of one or another timbre. The organs are activated by register buttons located on the sides and above the keyboard (see Organ).

N. WITH.

encyclopedic Dictionary F. Brockhaus and I.A. Efron. - S.-Pb.: Brockhaus-Efron. 1890-1907 .

See what “Voice registers” are in other dictionaries:

- (Latin vox, French voix, Italian voce, English voice, German Stimme). 1) Melodic. line as part of a polyphonic music. works. The totality of these lines makes up the music. the whole texture of music. works. The nature of the movement of voices... ... Music Encyclopedia

Hand-held harmonicas, reed keyboards, pneumatic musical instruments, harmonic class. The sound in such instruments is produced by exposing their reeds (voices) that freely slide through the openings of the slats with a stream of air, ... ... Wikipedia

VOICE- VOICE, a universal concept that unites sounds emanating from the human larynx, regardless of whether they are intended to express thoughts and feelings or are the result of unconscious reflex muscle movements. In the development of G. should... ... Big medical encyclopedia

- (Latin Gutturales verae, German Kehlkopflaute) are formed in the larynx (see) by the activity of the vocal cords. The larynx (the glottis itself) has the following four articulations: 1) the glottis is wide open and freely allows...

Tessitura- (Italian tessitura a number of tones in the range of the voice) the pitch position of the voice at the moment in relation to the entire range of this voice. For example, if the range of the voice in question lies within 100-250 Hz (baritone), and at the moment... ... Pedagogical speech science

Tamagno, Francesco Francesco Tamagno Basic information Full name Francesco Tamagno Date of birth ... Wikipedia

- (from the Greek φωνητικός = sound, voice) department of linguistics, studying the sound side of the language. This term is not precise and defined enough. According to its etymological composition, it should mean the doctrine of all sounds in general, but... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Ephron

During a trial vocal lesson, beginning vocalists often ask: “What does it mean to sing higher or lower?” It is difficult for people without musical training to understand how to control their voice and change its pitch. And what is “voice pitch”?

Some people think that singing higher means singing louder. However, these words are NOT synonyms!We can sing both high and low notes loudly.Why your voice sounds lower or higher depends on the singing register in which you play the note.

In this article we will briefly talk about what voice registers there are.If you already know this topic and are interested in practice, then I recommend exercises for developing singing registers in the O VOCALE section.

What are the different voice registers in humans?

Every musical instrument has registers. Voice is also musical instrument. Imagine strings on a guitar. The thickest string sounds low and is stretched less elastically. The thinnest string sounds higher because tighter. The singer’s vocal cords also become very tense. top notes. Therefore, the sound becomes thinner and higher.

The lower and upper strings sound in different registers - upper and lower. Together they make up the guitar's musical range, from the highest note to the lowest.

M It is possible to highlight the mainVocal registers for vocalists:

• upper register (which many techniques call the “head” voice)
• middle case
• lower register (“chest” voice)

Briefly about singing voice registers.

• Firstly, voice registers have different colors , by which they can be distinguished.
• Secondly, it will come to the rescue sound resonance and its vibrations.

For example, when you move to a high register of your voice, the sound changes color and becomes thinner. You don’t notice at all that your vocal cords are stretched and begin to vibrate faster. Sound wave picks up a higher frequency. And the bones of the skull vibrate from this high sound wave.

It seems that the top notes ring (resonate) in the head. For some, the voice is felt in the top of the head, for others in the back of the head, in the forehead or in the bridge of the nose.

In the lower register, the chords shorten, become thicker, and the sound is denser and rougher. Low frequencies appear in the voice. Vibrations of sound are felt in the throat and chest. Hence the name - “chest”.

Advice for beginners.If your ear for music is not developed, but you want to understand whether you sing lower or higher, focus on the sensations in own body. Where do high and low notes vibrate? Try to evaluate the color of the sound: does the voice sound thin, squeaky (top notes) or rough, dense (bottom notes).

Vocalists often have this problem: the upper and lower registers are not connected to each other. You were just singing in a thick, beautiful voice, and then something seems to break, and you go into an empty and thin sound (which is often called falsetto).

The initial voice production of vocalists “from scratch” often comes down to connecting the upper and lower registers of the voice and avoiding transitional notes at their junction - fractures. Mid frequencies help with this, which we will discuss below.

Mixed middle voice register.

Some vocal techniques highlight the middle register not as an independent segment of the range, but as a section of the voice where the upper and lower registers overlap each other and mix. This is where the name comes from "mixed".

Imagine turning on water from a tap, cold and hot at the same time. As a result, they mix and the flow of water gets warm. This is the same warm timbre that colors your voice when you sing not with just your “head” or “chest”, but try to “mix” them.

Mixed sound is a singing technique, and not a separate section of the range. A technique in which we add midrange frequencies to the voice.

We use mixed every day - in everyday speech. The spoken voice is rich in midrange frequencies. It seems natural, pleasant in timbre and does not require effort. Therefore, many teachers advise not to sing, but "talk" while singing to show the natural color of the voice. As most modern vocalists do.

The vocalist's sound when adding mid frequencies is felt not in the head or chest in isolation, but in the face, nose, jaw, front teeth and palate. In Western methods, the middle frequencies in the voice are called “tweng,” which we will talk about more than once.

Due to the fact that the ligaments in men are denser and thicker than in women, the chest register in men occupies most of the range and sharply moves into the upper register (into the so-called “male falsetto”). Of course, all the limits of voice registers for men shown in the figures are relative and individual for each person. This example relates more to pop vocals. A separate article on the mixed sound of the voice can be found in the section, where I will tell you how to add “chest” notes to the “head” voice and make the sound on the upper notes richer. We’ll also discuss why everyone argues about the differences between Tweng and mixed doubles.

Subscribe to site news so as not to miss this article!

Thanks to mixed music, professional vocalists cannot hear purely head notes and “breaks” in the voice, as they skillfully mask them. The voice sounds rich and rich even at the top.

What are the different voice registers in pop vocal techniques?

Various pop vocal techniques are mentioned whistle (flute, fistula) voice register, falsetto, modal (speech) register, noise and stro-bass. But, despite the differences, all vocal schools say about the same thing about singing registers:

• Whistle, fistula, and falsetto registers can be classified as high voice registers.
• Modal, speech, mixed register - to the middle.
• Noise and stro-bass - to the bottom.

Unfortunately, these register names are often used out of context, without mentioning where this term came from. This causes confusion for newbies. And among vocal teachers there is a fierce debate about what to call this or that register of singing.

I advise you not to get carried away with terms. They are only good if you learn a specific vocal technique, such as method"speech singing" (Speech Level Singing) Seth Riggs or the Jo Estill method (Estill Voice Training). To understand how these systems work, you must speak their language and, of course, call top part range in “falsetto” rather than “head register”.

I am not an ardent supporter of any one technique. It is not the technique itself that works, but the person using it. You need to study not only the terms, but also your voice in practice.

My practice shows that it is easier for students to distinguish between registers, starting from “upper” and “lower”. This is how they understand that they are moving to the top and bottom notes. The main task is to learn to distinguish the pitch of sound, to understand whether you are singing higher or lower. And the “head” with the “chest”, and the vibrations in them, can serve as guidelines.

For the curious. A few words about the difference between the names of singing registers.The noise register is part of the lower register; we hear it when we speak in a whisper. There is a lot of air in the voice, but little sound. The vocal cords practically do not close.

But if you close them a little in the same low whisper, turning on the false ligaments, you can get - stro-bass. The stro-bass resembles an unpleasant rasp, and is often called "fry" - a low-pitched singing technique favored by Britney Spears and Sia.

In Western singing methods, only two registers are recognized - modal (speech), also known as “modal voice” or “chest voice”. And falsetto - “head voice”, “falsetto”.However, in our domestic vocal technique “falsetto” and “speech” voice are singing techniques! With falsetto, as the Russian vocalist understands, aspiration is added to the voice. The sound is taken on a soft attack.While in the West, all high notes are called falsetto, even those that sound dense.

The same applies to the modular speech register, which replaces the full chest voice in the West. In Russia, “speech singing” is not an independent segment of the range, but the addition of mid frequencies to the voice, a mix.

The whistle register is recognized by all countries of the world. And it is located in the very upper part of your range, where the sound becomes very high and resembles a whistle, and for super professional vocalists it turns into ultrasound. Often used in extreme singing.

Even men can develop such notes; their falsetto can easily turn into an immense reserve of upper whistle sounds. A striking example of use is the singing of Mariah Carey for women and Adam Levin for men. Vocal whistle is a unique phenomenon from the point of view of the functioning of the vocal cords, and we will talk about it in other articles.

How to use the work of voice registers in singing?

1. Find your highest and lowest note. This can be done using a tuner. Through application or online. This way you will determine your voice range and its type, the boundaries of your vocal singing registers. This means you will understand what songs and style of music are comfortable for you.
2. Use all registers, don't avoid low and high notes! Working with the upper and lower registers develops range, hearing and power of sound. That's what chants are for. They cover your ENTIRE range, you touch the extremes of your voice above and below. Also useful voice stretching on glissando, where you connect both registers.
3. Don't listen to background songs - analyze! Pay attention to the register in which the voices of your favorite performers sound. Focus on where the singer's voice becomes thinner and louder (as if it sounds in his head), this will be the upper register. And where the voice becomes rougher is in the chest - the lower register. When you learn to track the change in color in someone else’s voice, understand where others sound high and low notes, You'll be surprised how much easier it is to control your own sound!
4. Before you sing a song, analyze its melody. You can join a teacher in a vocal lesson. Highlight the lyrics to the song the highest notes in the melody and emphasize them. And then sing while looking at the highlighted text. Knowing about high notes in advance, you will automatically “pull up” your voice higher, sounding in the upper register. At first, this is enough to train voice coordination.
5. Do not confuse the head and chest register of the voice with the head and chest resonator! These are different things! The vocal register is the color of the sound, its pitch frequency. While this is a physiological cavity, emptiness in the body, where the sound hits and becomes larger. Such voids exist in the mouth, oropharynx, and nose.
6. Don't be afraid of the top notes - take them as you please! Novice vocalists are used to singing only within the limits of one's spoken register of voice, do not go beyond it. Therefore, any song more than three notes causes horror among beginners: “It’s too high, I won’t be able to sing it!” Taking on songs with unusual high or low notes is necessary to develop registers, range and hearing. Which means for new beautiful colors in your voice!

Learning and developing singing registers is important for any vocalist who wants to become a professional. The blog O VOCALE has a series of exercises from my practice, which will help you get acquainted with voice registers and short time expand the range. It is also useful to use them as a voice warm-up before singing lessons.

So run and train!

If you have any questions, write to me in the comments, I’ll be glad to chat!

You'll like it:

Classic interpretation.

A register is a series of vocal sounds produced in the same way and homogeneous in timbre. Depending on the predominant use of the chest or head, the chest, head and mixed registers are distinguished. The register structure of the voice is different for men and women and depends on the structural features of the male and female larynx. In a male voice, two natural registers are usually distinguished - chest and head (falsetto).

In the chest register of the male voice, which occupies about 1.5 octaves of its range a, the tight closure of the tense ones allows the use of strong subglottic pressure, which makes it possible to extract powerful and rich in timbre sounds that cause a distinct sensation of vibration of the chest (hence the name of this register). However, operation in this mode is only possible up to. If you want to sing higher sounds, the voice, due to a sharp change in the mechanism of voice formation, turns into falsetto. At the same time, they relax and stretch, vibrating only at the edges. The falsetto is poor in timbre, does not reach great strength, and is felt only in the head. In a falsetto voice, a singer can sing a whole range of high sounds.

Until the 2nd quarter of the 19th century, male singers used natural chest and falsetto registers when singing, smoothing out the transition between them. Later, they began to use the cover technique, which gave them the opportunity to find a mixed register and gain a full sound over the entire two-octave range. Mixed, or mixed register, is understood as a voice register in which both chest and head resonance are clearly manifested.

In rare cases, the structure of the larynx in men is such that the thoracic mechanism easily transforms into a mixed voice, and the entire voice receives a single-register sound.

The female voice has three registers - chest, middle (center, medium) and head. Women have shorter ones, which creates the preconditions for their mixed work within the medium. The transition to lower sounds, when the voice needs to be filled with chesty sound, requires a more dense closure of the folds. As a rule, when moving to the upper part of the range, in women a pure falsetto is not formed, and the work of the folds remains mixed.

Natural register possibilities are used differently in different styles of professional singing. The folk style of singing is characterized by the spread of the work of the chest mechanism (chest resonance) to the central section of range a. The academic style of singing requires an even two-octave range while maintaining both chest and head resonance in the voice.

IN different types voices, chest and head resonance are presented differently. Low, dramatic voices make more full use of the chest resonance, while light and high voices use the head resonance. Natural register boundaries and location play a role in determining voice type.

Stereotypical misconceptions.

It is often believed that this or that voice register exists thanks to its (voice) production by one or another ami. The chest register is supposedly produced by the chest resonator, the head register by the head resonator, and the mixed mixed register is allegedly produced by the joint operation of the chest and head resonators (hence the expression “mix resonators”).

The classical interpretation of the concept of “registers” contains the phrase: “...the work of the folds remains mixed.” Studies conducted in the USA, Italy, Japan, Australia and a number of other countries of the world have clearly confirmed that they always work in one “mode”, and such modes (closing states) cannot be mixed with each other.

Our interpretation.

Already in the classical interpretation there is a certain unification of the concepts of the mechanism of voice formation with the register. The classic definition recognizes that, despite the use of the term “”, “resonation”, the same method of sound production refers to the nature of the work. The names of the registers (chest, head, mixed) are given EXCLUSIVELY by the nature of the singer’s vibration sensations during the production of sounds in one or another voice register.

So, when singing in the “chest” register, vibrations in the chest area are clearly felt, but this fact does not mean at all that low, rich sounds, which are called “chest voice,” are created by some kind of chest voice. They are created by a special mechanism of sound production, about which in the classical interpretation you can read: “...the tight closure of the tense ones allows you to use strong subglottic pressure, which makes it possible to extract powerful and rich in timbre sounds, causing a distinct sensation of vibration of the chest (hence the name of this register).”

In modern vocal science, instead of the concept of “thoracic mechanism,” simplified numbering is used. Thus, the type of closure corresponding to the “thoracic mechanism” is called M1 (or “thick ligaments” in EVT terminology). There is also an M0 mechanism, which corresponds to a closure state that produces non-periodic oscillations. The voice, the sound that arises in this case, is called a strobe bass or a “fried” voice (fry).

It is obvious that in classical vocals neither men nor women use the M0 mechanism.

The sounds of the “head” register - similarly, are not created by the “head resonator” at all; this is also a certain mechanism of closure and their state during this closure. The classical interpretation calls this type of operation a falsetto mechanism, but modern research has shown that sounds in high register voices do not always have a falsetto character. It depends on how much air pressure the singer is using and how they can control the amount of air used in the vocal.

Similarly, if you sing sounds of a low register quietly, “carefully”, “ingratiatingly”, then in in this case the state of closure of the ligaments will not be “chest” (thick), but “thin” or “hard” (if the sound contains a large proportion of air noise).

Sounds of a low register, performed with “aspiration”, a large amount of air, and hoarseness, are called subtone om. Although Western vocal terminology operates in this case, regardless of the pitch, with the definition of falsetto. Subtone, like falsetto, is not traditionally used in classical vocals.

That is, in the area that is commonly called the chest register, there can be several types of sound production - relaxed ligaments, thick and hard. In the section of the “head” register there are two, thin or hard. Thus, there are many more “identical methods of sound formation” than the classical vocal interpretation suggests.

In the “mixed register” or mixed register, the direct mechanism of voice formation is M2, and the state of closure is thin (but not hard!). This has also been shown by studies using various equipment. Moreover, the research was carried out not only among singers who sing classical works and master exclusively classical vocal technique. The studies involved vocalists of various vocal styles and manners, which are so rich in modern vocals today.

For example, it was found that the “distinct manifestation of chest resonance” (see the classical interpretation) is not at all associated with the existence of some special, yet another mechanism for creating sound. This effect manifests itself if the singer successfully implements modification of the resonant cavities.

The covering technique that classical vocals are talking about is a method of such modification, but is not used in modern vocals; this technique is exclusively for operatic, classical singing.

In modern vocals, modification of resonant cavities is performed in a different way. The final “product” of this modification is a high formant, which in the English-speaking environment is called twang. When a vocalist can create a twang in his voice, the middle and even high notes of the voice begin to sound with a “distinct manifestation of chest resonance,” although no “chest” is involved in creating such a sound.

It is this modification of the resonant cavities that leads the vocalist (whether classical or modern) to obtain a “full sound”, despite the M2 mechanism present at the heart of sound generation, that is, the thin ligaments that underlie the sounds considered “head”.

Therefore, it is impossible to talk about the presence of a separate sound production mechanism in the “mixed register”; physical reality looks different.

There is also an M3 mechanism, to which modern vocal science refers the method and state of closure, which produces sounds that are high and ultra-high in frequency, but poor in timbre. A similar mechanism of sound formation (and register, accordingly) in classical vocals is called flute. Another name is also known - whistle register.

The M3 mechanism is characterized by being in a stretched state, edge closure, but at the same time, the part of the surface that is in contact with each other does not vibrate. In this way, the glottis is further reduced compared to the M2 mechanism, making it possible to produce very high-pitched sounds.

So, when talking about registers in relation to modern vocals and the variety of vocal styles and sounds used by vocalists today, it makes sense to evaluate a singer's registers from a musical perspective and talk about the lower, middle or upper register of the voice.

If we mean the method of vocal production used to produce a particular sound, the concept of “register” becomes inappropriate. You can convey information much more accurately if you use a gradation of voice formation mechanisms (M0, M1, M2, M3), a gradation of the state of ligament closure (relaxed, thick, thin, hard) or the concept of vocalizations.

For example, it is more appropriate, instead of the expression “When I sing in the chest register...” to use the expression “When I sing in the lower register with thick chords (or with the M1 mechanism)...”. The audible result in both cases is the same - relatively low sounds with a rich timbre.

But there may be another expression: “When I sing in the lower register with hard chords...”, and the audible result will be a subtone (falsetto in Western terminology).

Or instead of the expression “When I sing in the falsetto register...” use the expression “When I sing in the upper register on thin chords (or with the M2 mechanism)...” Although the audible result may be different - if the chords are really “thin”, then we will hear something like this a sound that is usually called “head voice”, but if the ligaments are not “thin”, but “hard”, we will hear falsetto.

Similarly, the expression “When I sing mixed ohm...” should be changed to the expression “When I sing in the middle register...” Since the sound of “mixt ohm” in modern vocals is very diverse and depends on the achieved degree of modification of the resonant cavities.

I won't lie if I say that it is very difficult topic, both in a practical sense and even more so in a written sense. It took me a lot of effort to decide to write an article on this topic. Because I don’t want to write some kind of crap, but really write it in such a way that it would be at least partially clear what I’m talking about here. With your permission, I will come a little further away.

I’ll say right away, for those who want to sing exclusively, that there is nothing wrong with pop vocals. I myself respect many pop singers, but this knowledge with resonators will not be useful to you, or it will be useful, but just a little bit. I’ll explain why. Nobody uses head resonators on the stage, because not everyone can do this, this is the prerogative of exclusively educated singers, you You can be offended by me, you can write me accusations in the comments, but I had to say this, because I’m not going to write shit here on my blog.I write only the truth, and believe me, many self-respecting academic singers would express themselves much more about pop vocals. worse. Pop singers do not need to sound powerful, they have a microphone and sound engineers, and their voice can be like that of a mosquito.

I could write to you that guys, come to my blog, I’ll teach you everything, but damn it guys, I can help you, give you ideas, but teaching you how to sound correctly, words won’t work. Live, it seems to me that you can teach a monkey to sing, if he wants, of course, but with words, alas! You can't write everything down.

So, guys, I ask you to listen again, listen to how loudly and powerfully he sings, and besides, he still doesn’t have a huge voice. These are the voices that are capable of breaking walls with their sound, capable of drowning out an orchestra, and the most important thing is that they sing as freely as possible, they sound like crystal, it’s just DIVINE bleat! Okay, I think I’ve made my point, but now to the point:

The vocals, as I already said, rest on three basics, This:

1. with loose ligaments in it;
2. And of course this;

And only when everything works like clockwork will you sing like never before, but if at least one condition is not fully met, then the effect will be minimal, to put it mildly.

Why:

If, for example, the larynx is clamped, then the ligaments are also clamped; if the ligaments are clamped, then the sound will not be able to penetrate the resonators; if the resonators do not break through, then the ligaments will not be able to completely relax and of course neither the resonators nor the larynx will work correctly, if not will support the sound.

Forgive me, dear readers, if you don’t understand something, but it’s simply impossible to describe it more clearly in words, not for nothing, after all, there are vocal schools, conservatories, etc.

If you still decide to comprehend this science, if not completely then at least partially, then start with the section about sound support, the most important thing is there.

AND NOW ABOUT HOW TO GET INTO THE HEAD RESONATOR:

And so, if you have found support, if learned to straighten the diaphragm In order to retain air in yourself, you should now pay attention to the fact that the larynx is free and the Adam’s apple is lowered. Women will have to imagine that they have an Adam's apple and lower their larynx along with the imaginary Adam's apple, don't laugh, but it worked for my girl right away.

Now we need to imagine that air jet hits the forehead and resonates throughout the skull. From the habit of many beginning singers singing ahead of themselves, they should sing, as teachers put it, “ air column", i.e. sing up. The sound will be maximally sounding if the air does not simply fly out in large volumes through the mouth, it should come out minimally, through the ligaments, so that the resonance of the ligaments is as free as possible. Only loose ligaments can produce such a resonance that will pierce the head, there is no other way!

As for exercises to get into the head, I advise you, it’s as old as time mooing on the letter "M"" Moo and listen to the resonance in the skull, catch this feeling when your face resonates. But you should hum as if you have something in your mouth, say, a small apple; there should be a “dome” in your mouth. The palate should be raised, the larynx should be lowered, and there should be plenty of room for sound.

For example, they helped me a lot chants on the syllable “MI”", up and down the major scale. But the most important thing in these chanting and mooing is not to lift up the larynx, not to change position, not to reach for the note, no matter how high it may be. You need to sing the top and bottom in the central position, as it is the most natural and free.

If you have problems with range, it is difficult for you to sing high notes, I advise you to learn to sing into resonators and only this way, because when resonance in the head is achieved, the ligaments will begin to relax, the range will increase, and the voice registers will smooth out. Also, read the article, it’s just about this very resonance in the face!

I’ll add from myself:

Only when my head began to sound, when Todor Panovsky taught me how to sound, I felt like a singer for the first time. At that same moment I realized that before that I had not sung at all, but was engaged in singing, not singing, so search, don’t give up, it’s not in vain that you followed the path of vocals. It's worth it, look for it!

And so, you are very important advice: « LISTEN TO A LOT OF QUALITY OPERA SINGING" Everyone knows the fact that when you hear someone’s singing, the ligaments close automatically on a psychological level, imitating the heard voice. That is, listening to crap singing, you automatically learn to sing crap, and listening to great singing, you grow with each listening.

Sing and sound, my friends, don’t give in to fashion, be strong, be yourself, listen to your heart and others, constantly compare and analyze.