What Are the Vocal Registers?
When you've been involved in the world of singing for a while, you're bound to encounter a variety of terms used to describe vocal registers. Vocal registers refer to the distinct ranges of sound the voice can produce, each with its own unique tone, quality, and muscular coordination. Words like chest voice, M1, TA-dominant register, overdrive, and many others are used to explain the different ways the voice functions within these ranges. With so many terms floating around, it can sometimes feel overwhelming, especially since different teachers and methods use different terminology. This can make it hard to know which terms to focus on or what they really mean.
In this article, I’ll break down the vocal registers that I learned during my teacher training. These are the terms and concepts that have made the most sense to me over the years and have proven to be helpful in developing both my own voice and the voices of my students. By understanding these registers and how they function, you can gain better control and flexibility in your singing, regardless of your experience level.
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Why So Many Different Terms?
The world of vocal training can sometimes feel overwhelming due to the sheer number of terms used to describe the voice. From "chest voice" and "head voice" to more scientific terms like Thyroarytenoid (TA) dominant and Cricothyroid (CT) dominant, the vocabulary can vary widely depending on the teacher, school, or method. This variety of terms exists because the voice is an incredibly complex instrument, and people throughout history have developed different ways to explain and categorize it. Cultural traditions, advances in vocal science, and even individual teaching styles have all contributed to the diverse language used to describe vocal registers today. In the following sections, I will dive into the reasons why vocal terminology differs so much
First There Was the Voice, The Names Came Second
Since the beginning of time, the voice has been a natural part of who we are. Long before there were formal methods or schools for singing, people used their voices to express themselves. As we tried to understand the different sounds we could make, we began giving names to these sounds. This helped people make sense of the variety of tones and qualities they heard.
However, naming vocal sounds isn’t always simple. Our voices can produce a wide range of pitches, tones, and textures, and different people may hear the same sound in different ways. For example, one person might hear a light, high sound and call it “head voice,” while someone else might call it “mixed voice.” Because of these differences in how we hear and describe sounds, many terms have developed over time.
Different voice teachers, musicians, and traditions have also created their own ways of naming these sounds. What one teacher calls “chest voice” might be called something else in a different singing method. This variety of names shows how complex and unique the voice is. While it can sometimes be confusing, having many terms also helps us describe the many different ways the voice can sound.
As Vocal Science Developed, So Did the Names
As vocal science advanced, so did the terminology used to describe the different registers and functions of the voice. With greater understanding of the anatomy and mechanics of vocal production, experts began to use more precise, scientific terms to explain what was happening inside the body when we sing.
For example, we now know that vocal registers are closely tied to the muscles involved in controlling pitch and tone. The terms Thyroarytenoid (TA) dominant and Cricothyroid (CT) dominant emerged as a way to describe how different muscle groups are engaged during various types of vocal production. TA-dominant voice refers to the use of the thyroarytenoid muscles, which are more active in lower, chest-like registers. CT-dominant voice involves the cricothyroid muscles, which are more engaged when producing higher, head-like tones.
These scientific terms provide clarity that was missing in earlier descriptions of the voice. Traditional terms, such as "chest voice" or "head voice," gave us a general sense of where the sound was felt or perceived, but they didn't explain what was happening at a physiological level. The introduction of terms like TA and CT dominance allows us to discuss the voice in more precise terms, focusing on how the vocal folds adjust to create different pitches and timbres.
However, this scientific perspective didn't entirely replace older terminology. Instead, it added a new layer of understanding to how we describe vocal registers. Many singers and teachers, including myself, still use traditional terms like “chest voice” or “head voice,” while others prefer the more anatomically accurate descriptions. Both systems coexist, giving us a richer, more nuanced language to explore the complexities of the voice.
I still use “chest voice” or “head voice” in my teaching because they are familiar and widely understood by most people. These terms have been around for so long that they provide an accessible way to talk about different vocal registers without overwhelming students with technical jargon. While it’s important to understand the science behind how our voices work, using terms that students already know helps them connect with the sensations they experience while singing. Over time, I may introduce more accurate terms like Thyroarythenoid or Cricothyroid, but starting with "chest" and "head" voice gives students a comfortable foundation to build on.
Different Terms Allows Schools To Differentiate.
The variety of terms used for vocal registers often reflects a school or method’s unique approach to teaching. Many vocal schools or teachers develop their own terminology, not just to describe vocal production but to create a distinct identity or philosophy that sets them apart. This can be part of a broader teaching method or business model, where having a unique set of terms helps define the approach as different or innovative.
For some, the chosen terminology simply feels like the most logical way to explain the voice, based on their own experiences or understanding. By using specific terms, these schools can create a sense of structure and consistency within their own method. It helps build a clear identity that students and teachers can follow, but it can also act as a way to distinguish one method from another.
However, this can sometimes lead to confusion, especially for students who switch between teachers or methods. A student might hear one term from one teacher, only to hear a different name for the same vocal technique from another. Without a unified language across the vocal teaching community, it can be challenging for students to navigate these different systems. Understanding these differences and bridging the gap between terminologies is important for both students and teachers, ensuring that everyone can communicate clearly, regardless of the school or method they are following.
The Vocal World is Ever Changing
The world of vocal science and pedagogy is constantly evolving. As we continue to study and understand the mechanics of the voice, it’s likely that even more discoveries will be made, leading to new terminology and methods of teaching. Despite the vast amount of research already done, there is still so much we don't fully understand about how the voice works.
Ongoing research is crucial for uncovering new insights into the voice’s physical and acoustic properties. As technology improves and our understanding deepens, we may find that the terms we use today are just stepping stones toward even more precise and accurate descriptions of vocal function. It’s possible that new terms will emerge to describe techniques and phenomena we currently can’t fully explain.
This constant growth and change mean that vocal pedagogy will continue to adapt. Just as past generations developed terms to fit their understanding of the voice, future teachers and researchers will create new language as our knowledge expands. This ongoing evolution ensures that the vocal community remains dynamic and responsive, offering singers and teachers ever-improving tools to explore the full potential of the human voice.
Different Vocal Registers
In the next section, I will explore the different vocal registers, using the terms that are most familiar and easy to understand, like chest voice and head voice. While there are more scientific terms, I prefer these because they are widely known and make it easier to explain how the voice works. I will also include examples for both male and female voices to help illustrate how each register works and sounds.
Vocal Fry
Vocal fry is the lowest vocal register, producing a deep, creaky sound when the vocal cords come together with minimal airflow. While it's often recognized for its characteristic low pitch, singers can train to use vocal fry in higher ranges as well, extending its versatility beyond just the lowest notes.
This register plays a key role in vocal exercises to help improve vocal cord closure, reducing breathiness by limiting excessive airflow. By working with vocal fry, singers can train their vocal folds to close more efficiently, which leads to a clearer, more controlled sound. One way to find vocal fry is by singing a clean tone and gradually reducing the amount of air you use until you naturally fall into the fry register.
Beyond exercises, vocal fry is frequently used as a stylistic element in various genres. In metal, for instance, vocal fry is often used for screaming. It’s also found in mainstream pop music, with artists like Britney Spears incorporating vocal fry to add texture and expression to certain phrases. Its stylistic versatility makes it a valuable tool not only for technique-building but also for adding color and character to a performance.
Below you can find an example of a songs incorporating vocal fry: “Oops!...I Did It Again” by Britney Spears and "Summer" by Calvin Harris
Chest Voice
Chest voice is one of the most commonly recognized vocal registers, often described as the lower, fuller sound produced when the vocal cords are thicker and the Thyroarytenoid (TA) muscles are more engaged. This register gets its name from the physical sensation many singers experience, as the resonance of these lower pitches can often be felt in the chest area.
Chest voice is typically used for singing in a lower range and produces a rich, powerful tone. It’s a key part of many vocal styles, from classical to contemporary music, where strength and depth in the voice are required. In this register, the vocal cords are more tightly closed, which allows for greater control and volume, making it a favored register for delivering powerful notes.
For example, Adele’s "Rolling in the Deep" and Johnny Cash’s "Ring of Fire" both showcase strong use of chest voice in their deep, powerful tones.
Mixed
Mix voice refers to the blending of chest voice and head voice, allowing singers to smoothly transition between registers without noticeable breaks. One of the most common ways to train your mix is by sliding from your chest voice to your head voice while trying not to crack or create an abrupt shift. This exercise helps strengthen the coordination between the vocal registers, making it easier to blend them seamlessly.
Rather than being a single register, mix voice is a flexible space where singers can adjust the balance between chest and head voice, depending on the sound they want to achieve. This versatility gives singers the ability to move effortlessly between lower and higher notes, with control over tone and expression.
There are three main types of mix voice based on the balance between chest and head voice: chest-dominant mix, 50/50 mix, and head-dominant mix. Each offers unique possibilities for different vocal styles and textures.
Chest Dominant Mix
A chest-dominant mix involves more resonance and weight from the chest voice, giving the sound a powerful, fuller quality. This type of mix is commonly used for belting, as it allows singers to project higher notes with strength while maintaining the grounded, rich tones of the chest voice. Chest-dominant mix is particularly popular in pop, rock, and musical theater, where vocal power and intensity are often required. The chest voice presence in this mix gives the voice more punch and presence, making it ideal for energetic, high-impact performances.
For a chest-dominant mix, Jennifer Hudson’s "And I Am Telling You I'm Not Going" is a great example, especially in the powerful belted notes. On the male side, Jared Leto in "The Kill" by Thirty Seconds to Mars uses a chest-dominant mix in the chorus, paired with distortion, to create a strong, intense sound. These examples show how chest-dominant mix provides power and richness in higher notes.
50/50 Mix
A 50/50 mix balances chest and head voice equally, creating a smooth transition between lower and higher notes. This blend results in a consistent tone across the singer's range, without leaning too heavily on either register. The 50/50 mix is often used to achieve flexibility and evenness, making it useful for styles that require vocal agility and subtlety. It allows singers to navigate their range effortlessly, providing an ideal foundation for maintaining vocal consistency, especially in genres like jazz or pop.
Ariana Grande’s "breathin" is a great example of a 50/50 mix. She alternates between head voice but predominantly uses a balanced mix, allowing smooth transitions and a consistent tone throughout the song.
A male example of a 50/50 mix is The Weeknd's "Blinding Lights". In this song, he maintains a balanced blend of chest and head voice, creating smooth transitions and a consistent, polished tone throughout the track.
Head Dominant Mix
In a head-dominant mix, the voice draws more on the lighter, resonant qualities of head voice, while still retaining some chest voice strength for added depth. This type of mix is especially useful for hitting higher notes without losing the presence and support that come from chest voice. A head-dominant mix is often employed in R&B, or softer pop styles, where a light, controlled sound is needed, but with enough body to keep the voice from sounding too airy or thin. It allows singers to access the upper register with ease while maintaining a solid, resonant foundation.
A female example of head-dominant mix is Madonna in "Frozen", especially in the higher parts where she achieves a light, resonant sound while maintaining depth. A male example is Jeff Buckley in the chorus of "Everybody Here Wants You", where he similarly reaches higher notes with resonance and lightness while preserving a sense of body in his tone.
Head Voice
Head voice refers to the higher register of the voice, where singers can achieve a lighter, airier quality compared to the deeper chest voice. In head voice, the vocal cords stretch and thin out, allowing singers to reach higher notes with ease and a more resonant tone.
When talking about male singers, the term falsetto is often used to describe their higher register, but it’s essentially the same as head voice. Both terms refer to the same vocal mechanism, where the vocal cords thin out and stretch to produce lighter, higher notes. While falsetto is typically used to describe a breathier, more disconnected sound in male voices, it operates in the same vocal range as head voice.
Head voice is often used for softer, more delicate passages in a song, but it can also be strengthened for powerful, soaring high notes. Many singers develop their head voice to create a fuller, more controlled sound in the upper range. This register is typically associated with classical music, particularly in operatic singing, but it’s also commonly used in pop, R&B, and other contemporary styles.
For singers, head voice is an essential register that allows access to the higher part of their range while still maintaining control and clarity. When well-developed, head voice can sound smooth and connected, making transitions from lower registers seamless and avoiding abrupt shifts in tone.
A female example of head voice can be heard in Nightwish's "Over the Hills and Far Away", especially in the chorus, where powerful, soaring high notes are delivered with control and clarity. On the male side, Prince’s "I Wanna Be Your Lover" showcases a light, airy head voice (or falsetto).
Flageolet
Flageolet is the highest actual singing register, producing a light, airy sound where the vocal cords are stretched extremely thin. While not used as frequently in most singing styles, flageolet is a great tool for stretching the voice. Practicing in this register helps extend your overall range, and by reaching higher notes in flageolet, you're also stretching and strengthening the registers below it. Working on flageolet can enhance your vocal flexibility and make accessing higher notes in other registers feel easier and more comfortable.
A great female example of flageolet can be heard in Christina Aguilera's live performance of "What A Girl Wants", between 5:27 and 5:32, where she hits extremely high, airy notes with precision. For a male example, Vitas showcases an impressive flageolet in "Opera #2", from 2:25 to 3:15, delivering incredibly high notes with ease. Both performances highlight the extreme upper range achievable in flageolet, demonstrating how this register stretches the voice to its fullest potential.
5:27 - 5:32
2:25 - 3:15
Whistle
Whistle register is the highest vocal register, known for its sharp, piercing tone that resembles the sound of a whistle. In this register, only a small part of the vocal cords vibrates, allowing singers to reach extremely high pitches that go beyond the typical range of flageolet. The whistle register is most often associated with singers like Mariah Carey and Ariana Grande, who use it to hit strikingly high notes with clarity and power.
While it can be impressive in performance, the whistle register is not generally beneficial for vocal development. For most singers, the whistle register is more of a stylistic tool rather than a technique for building vocal strength or flexibility. You can practice whistle notes by inhaling on a vocal fry and trying to reach the highest notes possible.
2:47 - 2:49
3:47 - 3:53
Closing Thoughts on Vocal Registers
Mastering all vocal registers takes time, patience, and consistent practice. Each singer's journey is unique, and it’s important to remember that there are no universally "right" or "wrong" names for these registers. The terminology might differ depending on the teacher or method, but the principles behind vocal function remain the same. As vocal science continues to evolve, so will our understanding of the voice. Staying curious and open to learning will help you grow as a singer, allowing you to develop a well-rounded, flexible voice across all registers.
Nina Standaert
Voice Teacher Nina
