The Pop Singer’s Dilemma

The vocal world is split in two, classical technique and contemporary technique. The word ‘contemporary’ is an umbrella term that pretty much means anything that’s not classical. From Bebop to EDM, pop to indie, contemporary music is a massively broad genre. There is not one kind of contemporary singer, there are dozens. So, what is contemporary vocal technique? How can a single set of rules cover the needs of dozens of styles and the unique technical needs that the nature of each genre requires?

How can one technique serve jazz singers, pop singers, rock singers, r&b, soul, punk, metal and indie singers? I have found this question particularly troubling as I embark on writing a book on modern vocal technique. It’s been pretty hard to boil down one set of rules that will work for everyone! In fact, it’s been impossible. What I’ve learned – and what I want to share with you – is that modern vocal technique is not about learning how to sing but how your voice works!

Let’s talk about registers for a second. The chest, head and mixed voices. The way we use and navigate between these registers is called vocal balance.

If you have ever taken voice lessons, depending on who your teacher is and what their preference was, you may have received training that prioritizes one register over the other.  Musical theatre and rock, for example, prioritize the chest voice. A ‘rocky’ vocal balance is generally a clear, powerful chesty sound. A ‘poppy’ balance includes a bit more mixed voice. Pop singers often prioritize chest voice, but experienced singers will use a mixed voice to extend their ranges! These powerhouses can make the mixed voice sound just like a belting chest voice!! This illusion is often so well-done, many newer singers will assume their idols are singing in chest voice, attempt to stretch their own chest voice range and ultimately injure themselves.

R&B and indie styles tend to use both head and chest register as well as a mixed balance when needed. Jazz training tends to ignore the registers and prioritize scales and musicality. Classical training defines registers completely differently and prioritizes different balances for men and women depending on their voice type.

 So, with so many styles and various balances to choose from, how do you know what balance will work for you?

The answer lies in knowing your voice AND knowing your style. Understanding how to create a healthy and controlled tone in each register will give you, as a musician, the ability to play your instrument however you choose. 

Vocal balance can shift depending on genre. But if you know your voice well, you can create any balance that you desire.

Even if you don’t fully understand the registers, or if you have trouble identifying them in your own voice...ask yourself this very important question: Does it feel good?

Do you like your voice? Are you happy with the tone? Is it healthy and unstrained? Then you win! You did it! That’s what’s important at the end of the day.

I often use the metaphor of a boat on a river to describe the singer’s experience. Vocal balance is the paddle. It keeps the boat moving forward and gives you the option of moving fast or slow. It allows you to row with weight or with lightness to get to your desired destination. Do not feel boxed in or like your missing something if you don’t master all the ins and outs of each register. You’ve got your paddle, let it steer you where you want to go.

All singers, in every genre, from shower divas to stadium rock gods, balance their voice in a way that works for them.

I want you to understand that learning vocal technique is not about memorizing vocal terms, and continuously vocalizing arpeggios till the cows come home...it's about getting to know your own voice better. It’s about practicing in a way that works for you and is actually good for you.