Head voice is a term used within

vocal music Vocal music is a type of singing performed by one or more singers, either with musical instruments, instrumental accompaniment, or without instrumental accompaniment (a cappella), in which singing provides the main focus of the piece. Music which ...

. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regard to this term. Head voice can be used in relation to the following: * A particular part of the

vocal range Vocal range is the range of pitches that a human voice can phonate. A common application is within the context of singing, where it is used as a defining characteristic for classifying singing voices into voice types. It is also a topic of stud ...

or type of

vocal register A vocal register is a range of tones in the human voice produced by a particular vibratory pattern of the vocal folds. These registers include modal voice (or normal voice), vocal fry, falsetto, and the whistle register. Registers originate in ...

* A

vocal resonance Vocal resonance may be defined as "the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air." Throughout the vocal literature, various ...

area * A specific vocal

timbre In music, timbre ( ), also known as tone color or tone quality (from psychoacoustics), is the perceived sound quality of a musical note, sound or musical tone, tone. Timbre distinguishes different types of sound production, such as choir voice ...

History

The term goes back at least as far as the Roman tradition of

rhetoric Rhetoric () is the art of persuasion, which along with grammar and logic (or dialectic), is one of the three ancient arts of discourse. Rhetoric aims to study the techniques writers or speakers utilize to inform, persuade, or motivate parti ...

al instruction.

Quintilian Marcus Fabius Quintilianus (; 35 – 100 AD) was a Roman educator and rhetorician from Hispania, widely referred to in medieval schools of rhetoric and in Renaissance writing. In English translation, he is usually referred to as Quintilia ...

(ca. AD 95) recommends teaching students ''ut quotiens exclamandum erit lateris conatus sit ille, non capitis'' ("that when the voice has to be raised the effort comes from the lungs and not from the head," ''Inst.'' 1.11.8, transl. Russell). The first recorded mention of the term in a musical context was around the 13th century, when it was distinguished from the throat and the chest voice (pectoris, guttoris, capitis—at this time it is likely head voice referred to the falsetto register) by the writers Johannes de Garlandia and

Jerome of Moravia Jerome of Moravia (or Hieronymus de Moravia) (died after 1271) was a medieval music theorist. He was a Dominican friar. His origin is unknown, but he is believed to have worked in Paris at the Dominican convent on the Rue Saint-Jacques. He most l ...

.The New Grove Dictionary of Music & Musicians. Edited by Stanley Sadie, Volume 6. Edmund to Fryklund. , Copyright Macmillan 1980. The term was later adopted within

bel canto Bel canto (Italian for "beautiful singing" or "beautiful song", )—with several similar constructions (''bellezze del canto'', ''bell'arte del canto'')—is a term with several meanings that relate to Italian singing. The phrase was not associat ...

, the Italian opera singing method, where it was identified as the highest of three vocal registers: the chest, passagio and head registers. This approach is still taught by some vocal pedagogists today. However, as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists have redefined or even abandoned the use of the term head voice. In particular, the use of the term head register has become controversial since

vocal registration A vocal register is a range of tones in the human voice produced by a particular vibratory pattern of the vocal folds. These registers include modal voice (or normal voice), vocal fry, falsetto, and the whistle register. Registers originate in la ...

is more commonly seen today as a product of laryngeal function. For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the head. The vibratory sensations that are felt in the head are resonance phenomena and should be described in terms related to

, not to registers. These vocal pedagogists prefer the term "head voice" over the term "head register." These vocal pedagogists also hold that many of the problems which people identify as register problems are really problems of resonance adjustment. This helps to explain the controversy over this terminology. Also, the term head register is not used within

speech pathology Speech is a human vocal communication using language Language is a structured system of communication. The structure of a language is its grammar and the free components are its vocabulary. Languages are the primary means by which hum ...

and is not one of the four main vocal registers identified by speech pathologists. The following is an overview of the two predominant views on head voice within vocal pedagogy.

Differing views on head voice

Head voice and vocal registration

One prevailing practice within vocal pedagogy is to divide both men and women's voices into three registers. Men's voices are divided into "

chest register Chest voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regard to this term. Chest voice can be used in ...

", "head register", and " falsetto register" and women's voices into "

", "

middle register Middle or The Middle may refer to: * Centre (geometry), the point equally distant from the outer limits. Places * Middle (sheading), a subdivision of the Isle of Man * Middle Bay (disambiguation) * Middle Brook (disambiguation) * Middle Creek ...

", and "head register". According to this practice, singing in the head register feels to the singer as if the tone is resonating in their head (rather than primarily in the chest or throat). According to an early 20th-century book written by David Clippinger, all voices have a head register, whether bass or

soprano A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880&n ...

.at Project Gutenberg
/ref> Clippinger claims that

male Male (symbol: ♂) is the sex of an organism that produces the gamete (sex cell) known as sperm, which fuses with the larger female gamete, or ovum, in the process of fertilization. A male organism cannot reproduce sexually without access to ...

s and

female Female (Venus symbol, symbol: ♀) is the sex of an organism that produces the large non-motile ovum, ova (egg cells), the type of gamete (sex cell) that fuses with the Sperm, male gamete during sexual reproduction. A female has larger gamet ...

s switch registers at the same absolute pitches. He also states that at about E or E above middle C the tenor passes from what is usually called open to covered tone, but which might better be called from chest to head voice. At the same absolute pitches the alto or soprano passes from the chest to the middle register. According to Clippinger there is every reason to believe that the change in the mechanism for male voices into head register is the same as that which occurs in the female voice as it goes into the middle register at the same pitches. The contemporary

vocal pedagogy Vocal pedagogy is the study of the art and science of voice instruction. It is used in the teaching of singing and assists in defining what singing is, how singing works, and how proper singing technique is accomplished. Vocal pedagogy covers a ...

instructor Bill Martin seconds the view that the change from chest voice to head voice occurs at around E₄ in all voices, including the bass, but Martin states in the coloratura soprano it is more likely to occur at F₄. A recent book by a former teacher at

Oberlin College Conservatory of Music The Oberlin Conservatory of Music is a private music conservatory in Oberlin College in Oberlin, Ohio. It was founded in 1865 and is the second oldest conservatory and oldest continually operating conservatory in the United States. It is one of ...

and a

vocal The human voice consists of sound made by a human being using the vocal tract, including talking, singing, laughing, crying, screaming, shouting, humming or yelling. The human voice frequency is specifically a part of human sound production i ...

pedagogy Pedagogy (), most commonly understood as the approach to teaching, is the theory and practice of learning, and how this process influences, and is influenced by, the social, political and psychological development of learners. Pedagogy, taken as ...

teacher A teacher, also called a schoolteacher or formally an educator, is a person who helps students to acquire knowledge, competence, or virtue, via the practice of teaching. ''Informally'' the role of teacher may be taken on by anyone (e.g. whe ...

, Richard Miller, states that in the "tenore lirico" the higher part of the singing voice above the secondo

passaggio Passaggio () is a term used in classical singing to describe the transition area between the vocal registers. The ''passaggi'' (plural) of the voice lie between the different vocal registers, such as the chest voice, where any singer can produce ...

at G₄ extending upwards is referred to as "full voice in head," or ''voce piena in testa'', effectively stating the head register begins at G₄ in the "tenore lirico," not at E₄. According to Singing For Dummies, the bass changes from chest voice into middle voice around A₃ or A₃ below Middle C and changes into his head voice around D₄ or C₄ above Middle C. In the head register (which is above the chest register), some of the bottom end leaves the voice, but it's still, according to Martin, a voice capable of much power. Explanations for the physiological mechanisms behind the head voice can alter from voice teacher to voice teacher. This is because, according to Clippinger, ''"In discussing the head voice it is the purpose to avoid as much as possible the mechanical construction of the instrument"''. However, not all vocal teachers agree with this view. Thomas Appell's 1993 book ''Can You Sing a HIGH C Without Straining?'' aimed to refute the theory that all singers switch registers at the same absolute pitch. Appell defined chest voice as resonance below the vocal folds and head voice as resonance above the vocal folds. He recorded examples of male and female singers changing from chest voice to head voice at different pitches in an attempt to prove that the transition pitch is a function of the intensity of the vocal tone and is not absolute. At higher vocal cord tension (intensity of singing), Appell shows that the pitch at which a singer transitions from chest to head voice will be higher. At lower vocal cord tension (intensity of singing), Appell shows that the pitch at which a singer transitions from chest to head voice will be lower.

Head voice and vocal resonation

This view is that since all registers originate in laryngeal function, it is meaningless to speak of registers being produced in the head. The vibratory sensations which are felt in the head are resonance phenomena and should be described in terms related to resonance, not to registers. These vocal pedagogists prefer the term "head voice" over the term register and divide the human voice into four registers: the

vocal fry register The vocal fry register (also known as pulse register, laryngealization, pulse phonation, creaky voice, creak, croak, popcorning, glottal fry, glottal rattle, glottal scrape) is the lowest vocal register and is produced through a loose glottal clos ...

, the

modal register Modal voice is the vocal register used most frequently in speech and singing in most languages. It is also the term used in linguistics for the most common phonation of vowels. The term "modal" refers to the resonant mode of vocal folds; that ...

, the falsetto register, and the

whistle register The whistle register (also called the flute register or flageolet register) is the highest register of the human voice, lying above the modal register and falsetto register. This register has a specific physiological production that is different ...

. This view is more consistent with modern understandings of human physiology and in keeping with stroboscope videos of laryngeal function during vocal

phonation The term phonation has slightly different meanings depending on the subfield of phonetics. Among some phoneticians, ''phonation'' is the process by which the vocal folds produce certain sounds through quasi-periodic vibration. This is the defini ...

. Tarneaud says, "during singing, the vibration of the

vocal folds In humans, vocal cords, also known as vocal folds or voice reeds, are folds of throat tissues that are key in creating sounds through vocalization. The size of vocal cords affects the pitch of voice. Open when breathing and vibrating for speech ...

impresses periodic shakes on the laryngeal cartilage which transmits them to the bones in the

thorax The thorax or chest is a part of the anatomy of humans, mammals, and other tetrapod animals located between the neck and the abdomen. In insects, crustaceans, and the extinct trilobites, the thorax is one of the three main divisions of the cre ...

via the laryngeal depressors, and to the bony structures in the head via the laryngeal elevators. Singers feel these shakes in the form of thoracic and facial vibrations". These internal phonatory sensations produced by laryngeal vibrations are called "resonance" by singers and teachers of singing. There are seven parts of the human body that act as resonators and of those seven the three most effective resonators that help amplify and create the most pleasing sounds are all located in the head: the

pharynx The pharynx (plural: pharynges) is the part of the throat behind the mouth and nasal cavity, and above the oesophagus and trachea (the tubes going down to the stomach and the lungs). It is found in vertebrates and invertebrates, though its struc ...

, the

oral cavity In animal anatomy, the mouth, also known as the oral cavity, or in Latin cavum oris, is the opening through which many animals take in food and issue vocal sounds. It is also the cavity lying at the upper end of the alimentary canal, bounded on t ...

, and the

nasal cavity The nasal cavity is a large, air-filled space above and behind the nose in the middle of the face. The nasal septum divides the cavity into two cavities, also known as fossae. Each cavity is the continuation of one of the two nostrils. The nasal c ...

Not falsetto

Resonances and registration aside, the term "head voice" is commonly used to mean "high notes that are not falsetto or strained". For example, when

Pavarotti Luciano Pavarotti (, , ; 12 October 19356 September 2007) was an Italian operatic tenor who during the late part of his career crossed over into popular music, eventually becoming one of the most acclaimed tenors of all time. He made numerou ...

Stevie Wonder Stevland Hardaway Morris ( Judkins; May 13, 1950), known professionally as Stevie Wonder, is an American singer-songwriter, who is credited as a pioneer and influence by musicians across a range of genres that include rhythm and blues, Pop musi ...

Bill Withers William Harrison Withers Jr. (July 4, 1938 – March 30, 2020) was an American singer-songwriter and musician. He had several hits over a career spanning 18 years, including "Ain't No Sunshine" (1971), "Grandma's Hands" (1971), " Use Me" (1972) ...

slide from chest voice to a tenor high C (C₅) in full, balanced voice, this is referred to as "head voice". (Pavarotti's range was C♯3 to F5, but beyond D5 (E♭5 to F5) he sang in a strong or reinforced falsetto.) Beginning singers who have difficulty controlling their vocal break need to be taught to eliminate or control the physiological conditions associated with falsetto or strain in a process called "head voice."Rock the Stage: Voice Training for Modern Singers A strong falsetto is called a reinforced falsetto and a very light head voice is called "voce di testa bianca" or ''white head voice.'' High notes that are sung with balanced physiology do tend to have better resonance than falsetto or strained notes, so this definition doesn't usually contradict the other two.

References