Hi Rob, I don´t understand what is the difference into the falseto voice and the head voice... i can see in the video how you make you voice sound more powerfull and more natural then falseto voice... i have some teachers but no one can teach me how to make this voice...

Bye

Miller, see my article on this web site called, "Falsetto is NOT your head voice". It addresses a very important problem that exists in voice pedagogy today... And that simply is, there are a lot of singers out there and unfortunately, too many voice "teachers" that think that "Falsetto & Head Voice" are the same thing. They are NOT!

Falsetto is a color or a timbre... or a vocal mode that can be produced in the head voice when the vocalist does not have full vocal fold closure...thus, the breathy nature of the sound. Falsetto is NOT the place where high notes registration, resonate and are produced.

High notes, for the sake of this discussion, resonate in the "Head Voice". BOTH FALSETTO AND FULL VOICED TONES OCCUR IN THE HEAD VOICE!

Falsetto is not a "place" where high notes are produced... its a color. The "place" is the Head Voice.

Once the singer understands this, he/she can fully appreciate that the Head Voice is a viable place for singing and with proper training & development, the head voice is where you can sing full "chesty" tone... instead of Falsetto... and Im sure thats the objective, right?

Is this understood?

Yeah, tanks Rob

Rob I have question for you.

If I want to start to learn classical singing to maximize my chest range, and then learn the metal head voice registers, does they have any effect to the other. Will one of them be a kickback to the other. I ask this, couse:

1. I think these voices are produced with a different way. The muscular deformations can be problems.

2. I noticed that if i sing high chest, i cant jump to the head voice a for long time after.

My name is Arnold, from Hungary, 18 years old barithon, with only school chorus experience. And i wanna sing in many style. James LaBrie and Tobias Sammet in one hand, Eric Adams in the other, and Placido Domingo and Luciano Pavarotti on the third. It's insane i know. But can a man be good in opera and metal too? Help me please!

Thanks, and sorry for my grammar.

Bye

Ferenz

I admire your interest in wanting to pursue both genre's. I have seen a few people do it in my studio. But generally speaking, I think its really hard to study Classical voice technique and modern voice technique simultaneously. Its not because the music is different... what you have to understand is the way the vocal mechanism is being used to produce the Classical sound is vastly different then the way the voice is trained and used to produce contemporary sounds, such as in these videos above.

In fact some of the issues are profound... for example, in Classical techniques, generally speaking, you train your larynx to sit in a lower position to create more space in the pharynx... this results in the rich, darker timbres we hear in the Classical sound... but contemporary vocal techniques... and sounds like the head voice "twang" Im producing in these videos are created by inducing a thyroid cartiledge tilt... or what some people refer to as a "raised larynx" (although the larynx is not actually raising, its tilting), but thats beside point here. The point is that your larynx is set up so differently.

This can create confusion in the muscle memory when training... But like I said, it can be done... but honestly, I think only advanced, experienced singers can pull it off because the have the muscular control to know how to sing in these different vocal modes. A beginner is just going to get frustrated and very conflicted.

Train a foundation with one technique or the other first... then expand your modal capabilities as a vocalist.

Hope this helps...