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Magic Choral Trick #142 Head Voice, Chest Voice and That Flippy Spot

We all know that brash, powerful belting feeling of blasting out a Broadway tune in our best chest voices. But as we get higher – oops, something cracks and we have to switch into our flutey boy soprano head voices.

Some singers in the popular realm have turned this yodelling effect into a trademark. (Joni Mitchell and Sarah McLachlan)

It’s useful to have both versions of your voice in your singing arsenal – but like any kind of vocal colour specialty, neither one is very useful if you want a consistent sound from the bottom to the top of your range.

So how do we blend the two? Simple, but not easy – which is why daily technique practice for a while is necessary.

Try these techniques from older posts (below), using your own favourite warm up exercises. The first two posts talk about the narrowness that you’ll need, and Moustache Hands brings the sound forward in the mouth (also really necessary in order to avoid the flippy thing)

Let me know how you do with this.

You can keep track yourself of how you’re progressing by doing full vocal range glissandi, (sliding from your lowest notes right up to the top ones) seeing if you can keep the production free, easy and all in the same place – with no cracking or yodelling.

Narrow Narrow Narrow

How Narrow? Whistle Narrow

Moustache Hands

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