Hey guys! Welcome back again to Ken Tamplin Vocal Academy, where the Proof is
in the Singing! I'm doing a whole series on You Asked -
Ken Answers, and I'm really trying to go through a lot of the email, and a lot of
the messaging, and a lot of this stuff in our forums, you know. Really heartfelt
questions that I, hopefully, will give you answers that will benefit you.
We have Raji from Indonesia, and he asks "What is the difference between head
voice and fal set, and I think he meant falsetto, pretty sure. But anyway so I
just did a whole webinar on this. A live YouTube livestream, and I did one on
falsetto, I've done one on head voice, you know I've done one on mixed voice. So
please refer at least to that on YouTube because I've got this. And I cover this
thoroughly in my singing course called How To Sing Better Than Anyone Else, to
get you to these places. Around 1970 there was a rift that happened or a
split that happened between bel canto, appoggio, which is the operatic old
school style of singing, which is awesome! And then theater, so that the theater
world started taking on different ways of looking at the voice. So what head
voice was ascribed mostly to women when they passed through the passaggio into
their falsetto register. The true definition of head voice is actually
"anything that resonates in the head" which you know an operatic person would
say "yes" ... anything that was in head, right? So there was a split that happened,
and so definition started to get a little blurry and
people started coming up with their own definitions for things. Well, me
personally, how I like to look at this is like this, because I've been - grandpa has
been doing this a long time, and I'm, you know, I really, I duked it out with a lot of
different people trying to understand how to make this make sense. The first
thing is, is that I don't believe that head voice should only - and I'm goona get
killed by the Opera community for this, but I've just got to say it for what it
is. If we don't have a uniform understanding
of a definition, it makes it a very slippery slope and very hard to identify
how we're supposed to understand how to apply it, right, so I actually like how
the theater world took a definition and said "No, wait a minute. Hold on, we're
gonna take the female voice, at that time, and we're gonna call head voice or her
falsetto voice: head voice. Let's say this again. We're gonna call her falsetto
voice: "Head Voice." But the guys, they still kind of, you know, dilly-dallied around
and they never called the guy's voice head voice. Well if you're gonna call the
girls voice head voice let's call the guy's voice head voice
well the difference in this is, again, a very fine line, and let me explain this. A
girl's vocal folds are about half the size of guys. So when they go into their
head voice it can sound very similar to their chest voice. And so it
was more like, and then mixed voice through the passaggio, through the break,
the register break, and how this has been defined. Well, so guys, when they would
go into their head voice, a lot of times it was - or "falsetto," excuse me. I should
say that first. It was kind of Hooty, flutey, and it wasn't as defined, because their
vocal folds are bigger, and it flips into a whole different registration. And so
what I like to do is I like to say "Look. Let's get the guy's head voice to grow
like the girl's head voice, to where it matches the tonal qualities of their
chest voice, so they can have one long powerful note. And then we have no
contradiction in terminology of head voice, falsetto, chest voice. All these things.
And chest voice is also synonymous with the call register. You've probably
heard that in theatre as well. So on Broadway they have what's called the Broadway
belt, and they would, you know, belting, you know you heard this term: belting or the
call register, or this or that. is it so think of calling: "Hey, hey, hey, you know, belting HEY!!!
You know what I mean? So we want to really consolidate these terms, so we can
understand them, so we know how to move forward for our own singing
success. So anyway, I hope this was beneficial to you, and I hope it answered
the questions again. I've done two large live webinars on this, and I cover this
really extensively in my course called How To Sing Better Than Anyone Else. Okay?
I hope this was helpful. Hey guys! If you like what you heard,
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come out! Thanks guys!