Singing in your head voice

Chest Voice and Head Voice

Two of the most commonly used term in singing circles are “Chest Voice” and “Head Voice”. If you’ve always wondered what this actually means, read on….

In the “chest voice” – the voice most people use to speak with – people generally feel the resonance of pitches in that area vibrating in their chest. Put your hand on your chest and say the vowel “a” as in “cat” nice and strong – feel how that seems to resonate between your throat and chest? That’s your chest voice. Then cheer saying, “Woo-hoo!” – feel how the sound seems to have moved into your head? That’s your head voice.


Now for a more technical explanation: How do the vocal folds work? If you’ve ever seen a picture of the vocal folds in action you’ll see that they are attached at one end in a “V” shape and vibrate together – while resisting the air coming from the lungs – along their length to create pitch. (See link below to view video of vocal cords in action). At the pitch “A 440” (the pitch orchestras tune to) the vocal folds are coming together 440 times/second to create that pitch (the note you hear). Lower pitches have a lower number and pitches up in a singer’s “whistle-tone” register (think Mariah Carey) are vibrating in the 3000’s. When a singer is vocalizing in their chest voice the vocal cords are using their thickest width to create the pitches in that register.

Then, at a certain point, the vocal cords have to make a physical shift to reducing the vibrating mass and thickness to create higher pitches. What that means is that the vibrating portion of the vocal folds that is involved in creating the pitch must thin out as the pitches get higher.  Think about how you change pitch with a rubber band.  The lower the desired note, the thicker the vibrating mass of the band will be; the higher the desire pitch, the more you will stretch the band.  Similarly, the voice needs to make a shift to a thinner coordination in the vocal folds as the pitch ascends.  When it comes to bridging from chest to head voice think of the same rubber band experiment:  except that you can only stretch the rubber band so far before you hit a ceiling or break the band (top of your chest voice).  Now stretch the rubber band, but this time, place one finger in the middle of the stretched portion and play the pitch.  Now you’ve “bridged” the band and suddenly have many more higher pitches available without over-straining the vibrating mass.  Do this earlier and you eliminate the chances of breaking the rubber band – or straining your voice.


The first transition or bridge (also known as passagio), between chest and head voice, generally happens around an E-F# above middle C4 for men and around an Aflat-Bflat above middle C for women. Every singer I’ve ever encountered in my studio struggles at the beginning with either their first or their second bridge, though the first bridge transition is the most common struggle. (Every 4th or augmented 4th interval contains another of these transition points.)


Classical and choral singers tend to sing mostly in their Head Voice. Rock/pop and Musical Theater singers tend to sing in their chest voice without transitioning to a thinner cord, though some can sing in “Mix”, sounding like they are effortlessly taking their chest voice higher in their range. When a singer connects seamlessly between chest voice and head voice, maintaining a consistent tonal quality throughout this transition, this is referred to as “Mix” – which is just that: a comfortable mix of the elements of chest voice and head voice. To learn more about Mix Voice, check my blog entitled, “BELT vs MIX”.




Here is a link to see the vocal folds in action if you’re curious: Keep in mind that the physician is using a strobe light so that we can see the action of the vocal folds “slowed down” in a sense – otherwise they are moving too fast for our eye to see.

14 replies
  1. Travis
    Travis says:

    The only problem I have with the video you have posted is that it looks like the patient is raising their larynx to create the sounds (which may be untrue, I’m no doctor). If this is incorrect I apologize.

  2. temitope
    temitope says:

    how does the head voice and the so call middle voice is been discovered? how can one effectively make use of head voice in a choir practise? pls l will like to no more of this concept.
    thaks hope to hearing from you

  3. Noreen Smith
    Noreen Smith says:

    It depends on whether you are a male or a female singer and if you are able to release into head voice and mix. I would suggest finding a teacher who can help you find and build those parts of your voice. As for choral singing, many female singers sing entirely in their head voice, while a male singer might use head voice for first tenor range when the song requires a softer tone.

  4. Kellie
    Kellie says:

    Hi, Noreen.

    I’m a linguist, not a singer. So can I ask for a translation? Is chest/head voice the same as modal/falsetto phonation? If not, what is the difference between modal and chest voice and between falsetto and head voice?

    I was a little confused on the bridge/rubber band analogy. It sounds like the rubber band is being halved in length, which would generate higher pitches … is it that only one portion of the vocal folds is vibrating during head voice, rather than that the vibrating portion of the vf has thinned out? (As in falsetto phonation.) I’m familiar with something called creaky voice, which does involve reducing the vibrating portion of the vocal folds, but that produces lower frequency phonation.

    Thanks. I occasionally talk to friends about The Voice etc and I can’t make heads or tails of what they’re saying. The vocabulary is different.

  5. Oblomov
    Oblomov says:

    Hi Kellie, sometimes head and chest are regarded as resonance, sometimes as primary register of the voice, alluding to amount of vibrating mass and the fashion at which they vibrates.
    These approssimate conditions taken as ideally pure are the heavy mechanism or register (m1) and the lighter one (m2), they first involves the vibration of the full fold, the other one have much less of it vibrating, in falsetto we have an extreme example of m2, with only the borders of the fold vibrating with low amplitud and propagation, usually a result of scarce adduction and insufficient appoggio or anthagonist muscle coordination, i.e. little to no activiti of the vocalis muscle or maybe sometimes too stiff to vibrate along with the folds.
    They are called primary registers because unlike the intermediate mixed registers they are more immediate and instinctual and don’t need balance being extremes.
    There is an occasional relation with register shift and resonance shift, but if you are a basso profundo and need to start mixing as low as Bb3, you are still using the chest (as low, not actually the ribcage, which is a consonance) resonance, just a slightly more head than a higher fach which is still in in full heavy register (but in relation to lighter folds hence the balance), while a mezzo which needs to shift at G#4 will sure have more “head” when shifting.

  6. Alyssa
    Alyssa says:

    I was taking voice lessons for a few months, and my teacher told me I was singing everything in my head voice, including low notes. I’ve tried to fix this, but my voice breaks when I try to sing in my chest voice. I have no idea why, or if I’m really singing in my chest voice at all. Does any of this make sense to you? Do you have any idea how I can fix this problem?

  7. Noreen Smith
    Noreen Smith says:

    Hi Alyssa,
    This is a common problem, especially for female singers who have done a lot of choral singing. It is something that is fairly quick to fix initially, then takes some repetition to build it into your voice. I would recommend setting up a lesson with me, either in person or over Skype, so we can get you singing comfortably in your chest voice.

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Trackbacks & Pingbacks

  1. […] as high as it can go without allowing it to switch to a thinner cord (or thinner vibrating mass).  (see my “Chest Voice and Head Voice” blog for further explanation).  And when a singer takes it to that limit they will often find that, when they do make the […]

  2. […] they are producing this sensation consistently and easily through several of their vocal bridges (see blog on Chest Voice and Head Voice for further explanation on bridges) – in other words their FORM is correct – then we will start adding more air […]

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