The difference between nurturing the head and chest: What is the difference between the two sounds?
If you take the time to listen carefully to the songs and voices of the singers, you will notice a wide range of techniques that they use to create specific sounds or play specific notes.
We can say that the most important vocal technique is to shift the tone of voice between the sound of the chest and the sound of the head. In this article, we will compare the differences between chest noise and noise.
In TeesLearn, we also describe singers who change their voice from chest to head, and find out how it can be used creatively to achieve a particular effect in a song.
Now let’s look at the difference between head and chest.
What is chest sound?
First, let’s look at what happens when we use different singing techniques, and what happens physically and aurally, and define the difference between chest noise: the terms ‘head noise’ and ‘chest noise’ are actually hundreds. It dates back to before the Romans. In that empire and when there was less information about how sound works, so as terms may be a little misleading. To clarify this, whenever you sing, sound is produced by vocal cords (or vocal cords) in the larynx. (Known as the Voice Box) The terms “head sound” and “chest sound” are emotionally descriptive in that the reader feels that the sound is coming from when using these techniques. And in these parts it is nurtured and empowered.
So sound is produced from the larynx and is nurtured in other parts.
When we sing, we produce sound by vibrating our vocal cords (vocal cords) – using air to suck the vocal cords apart. This is called the sound mechanism, and the amount of vibration determines the pitch of our sound – the slower the vibration, the deeper the note we produce, while the longer the note, the more vibration we produce.
So what is the difference between singing and chest noise? Simply put, the chest uses thicker vocal cords while the head uses much thinner vocal cords. It’s kind of like the strings on a guitar – thicker strings give less resonance while thinner strings give you higher notes.
The important thing in understanding the difference between the two and using it as a singer is to think about it and feel where the sound comes from.
When singing with a chest sound, you should feel the vibrations and resonance in your chest – you can even put your hand on your chest and feel these vibrations while singing. As you rise in your vocal range, you increase the vibrations of your body, and by jumping to the sound of your head, you will find that the sound comes from your head and grows there.
(As a side note, this gap between the sound of the chest and the head is the basis of the Yudling technique – which we also cover in detail in another article in TeesLearn).
Chest sound is generally more natural, because when we speak we use this type of sound range (unless we are doing mickey mouse, so to speak, our voice is feminine and our voice is thin…).
Female singers tend to go through different ranges a little more subtly, but for men, when performing head-to-chest, they often find that the difference is more pronounced.
A good example of this is Coldplay leader Chris Martin, who jumps from his chest to his head for specific words or lines in a song.
In their favorite song, Martin sings Yellow (I came along, I wrote a song) in the pitch of his chest, then goes to his head for the word “for” and goes to his chest again for the word “you” – which is a nice line. And shows the subtle.
What is a composite sound?
Combined sound amplitude is an interesting point where both chest and head sounds are combined to create a beautiful and unique tone. There are some great examples of singers using this technique for great effects, including Rod Stewart and Ellie Goulding.
(Rod Stewart – Ellie Goulding)
The combined vocal range not only provides some exciting singing and melody techniques, but also allows for a more natural chest-landing volume and head-climbing volume – meaning that your musical words can Much smoother and easier to hear in the listener.
