The head voice adds a light, resonant sound that can bring a whole new dimension to your vocal range. It’s that airy, high quality you hear in classical and pop music alike, but many singers struggle to sing in head voice without feeling strain or fatigue. Work with your voice teacher to use the correct vocal techniques and develop the right muscles. In this blog, we will discuss the head voice and how you can develop this range safely and comfortably.
Understanding the Head Voice
Before getting into the exercises, it helps to know what head voice actually is. In vocal terms, head voice is one of the upper vocal registers. Unlike chest voice, which resonates in your chest cavity, head voice vibrates higher, often in the nasal cavity and head. The result is a lighter, higher-pitched sound that feels almost like it’s floating above your regular speaking range. Physically, head voice involves different muscles than chest voice. The cricothyroid muscle, responsible for lengthening and thinning the vocal folds, is heavily engaged in head voice.
Learning to control the cricothyroid muscle helps singers reach those high notes. It’s important to develop this muscle slowly, as forcing it can lead to strain! There’s no rush, learn carefully and under the supervision of a teacher. The head voice lets you explore higher notes without depending entirely on falsetto, which often lacks the power and fullness of the head voice.
Warming Up Prevents Strain
Warming up is always important, but it’s absolutely necessary for head voice work. Start with gentle hums, focusing on feeling vibrations in the face and upper parts of your head. Humming loosens the vocal folds and prepares them for higher notes. Lip trills are another great way to get the cricothyroid muscle ready. Start with low notes and slide up to higher pitches while keeping the breath relaxed. Aim to feel the resonance in the nasal and head areas, where the head voice naturally vibrates.
These warm-ups build flexibility in the vocal folds, allowing them to stretch without strain. Using gentle slides and glides during warm-ups encourages a relaxed shift between registers. When the folds are flexible, it becomes much easier to hit high notes in head voice without strain.
Breath Support for Your Head Voice
Good breath support is essential when working with head voice. Many singers try to reach head voice notes by pushing too much air, which leads to tension. Instead, focus on using a steady stream of air. Picture the breath as an even flow that gently powers the voice without pressure. Breathing deeply from the diaphragm, rather than the chest, creates this even support.
Practice breathing exercises that focus on controlled release. Try a slow exhale on a “shh” sound, focusing on keeping the air release steady. This exercise builds breath control and supports the head voice without forcing the vocal folds. The less force you apply, the freer your voice will feel.
Maintain Relaxation in the Jaw and Tongue
When reaching for higher notes, tension often sneaks into the jaw and tongue. Tightness in these areas restricts vocal freedom and makes singing feel strained. When practicing head voice, pay attention to these areas and keep them relaxed. Start by loosening the jaw through gentle chewing motions, as though you’re chewing gum. This releases tension and lets the voice flow more freely.
If the tongue feels tight, try singing on an “ng” sound, like the end of the word “song.” This sound moves the tongue back without pressure, encouraging relaxation. Transition from “ng” to open vowels like “ah” or “oo” to keep the feeling of ease. Reducing tension in the jaw and tongue helps your voice move smoothly into head voice without effort.
Practice Specific Exercises for Head Voice Technique
To strengthen your head voice, certain exercises target the right muscles and build control. The “siren” exercise is a favorite for head voice work. Begin with a low note in your chest voice, then glide up to a high note in your head voice, similar to the sound of a siren. This exercise builds a smooth connection between chest and head voice, helping you find your head voice without sudden breaks.
Scales on “ee” and “oo” vowels are also useful for head voice practice. These vowels naturally encourage resonance in the head, helping you feel where the sound should vibrate. Try singing simple scales in your head voice range, moving slowly up and down. Focus on keeping the sound light and resonant without pressing or pushing.
Choosing Repertoire for Your Head Voice
Working with the right songs helps strengthen head voice in a practical way. Look for pieces that sit in your upper range, where the head voice feels comfortable but challenging. Classical songs often use head voice, especially pieces with sustained high notes. Art songs by Schubert, for example, demand both control and expressiveness.
In popular music, ballads with soft, airy tones encourage head voice. Songs by artists like Ariana Grande or Sam Smith include head voice passages and allow you to practice in a contemporary style. Working on these songs gives you the chance to explore head voice without forcing, as the lighter dynamics naturally fit with head voice singing.
Is There a Difference Between Head Voice and Falsetto?
Yes, there is a difference between head voice and falsetto, though they’re both higher vocal registers that produce lighter tones.
Head voice refers to a lighter, resonant register that occurs when the vocal cords are stretched thin but still come together fully during vibration. In head voice, the vocal cords maintain a balanced, controlled closure, allowing for a fuller sound and often more power than falsetto. Head voice can carry dynamic range and resonance, creating a sound that feels “in the head” (hence the name) due to vibrations in the upper nasal and sinus cavities. Head voice is common in both classical and contemporary singing, especially in pop, R&B, and musical theater.
Falsetto, on the other hand, involves a different type of vocal cord function where the cords don’t fully come together during vibration. In falsetto, the edges of the vocal cords vibrate more loosely, which produces an airier, breathier sound with less volume and power. Falsetto doesn’t carry the same dynamic range or resonance as head voice, so it’s harder to achieve the same vocal control and strength – it’s usually used to color music, rather than serving as the only vocal medium for a song.
Keep Practicing for Strength and Flexibility
Head voice takes time to develop. Patience, regular practice, and a commitment to building vocal health are key. By focusing on good breath support, exercises for vocal flexibility, and the right repertoire, you can learn to sing in head voice without strain. Over time, you’ll find that head voice becomes a natural, comfortable part of your range. If you’d like help developing your head voice get in touch for singing lessons in Manhattan and NYC - we’d love to help.
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