chest voice


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Synonyms for chest voice

the lower ranges of the voice in speaking or singing

References in periodicals archive ?
Messa di voce exercises in the primo passaggio were noisy, breathy, and pulled in chest voice at higher pitches.
Equally, don't use the chest voice too long, as it will sound monotonous.
She recalls that Farrell told her, l think you,ll be more successful with your natural chest voice.
Yodeling is defined as singing so that the voice fluctuates rapidly between the normal chest voice and a falsetto, according to the American Heritage Dictionary.
They will attempt to use the same vocal techniques they previously used when singing an octave higher through the secondo passaggio in their newly developing chest voice production.
Her chest voice is dark and inky, and she's got plenty of power on top.
For example, Montserrat Caballe's chest voice in a 1974 broadcast of I Vespri Siciliani "is pungent where needed and free of the ugly graininess that she sometimes has favored" (p.
And certainly it seems to me that the payment is more generous than he merits, because although it is true that he sings securely, he sings nevertheless somewhat melancholically, and the gorgia is not well articulated because he fails most of the time to join the chest voice to the throat; because when the throat fails the chest voice, the gorgia becomes crude, hard and offensive.
Although his top notes were secure, his sonorous chest voice was even more notable.
I spent some time with a vocal coach and experienced the wonder of expressing my feelings and joy with my own natural adult chest voice.
In describing and explaining this phonatory process, some of us favor the mode system created by French voice scientists to describe four basic types of gender-neutral vocal fold activity: mode 0 is the vocal fry voice, mode 1 is the chest voice, mode 2 is the female head voice/male falsetto, and mode 3 is the whistle voice.
Omura has a very bright and buttery tone, but sometimes lacked the solid chest voice to balance it.
The next chapter (Seven), about the chest voice, is titled "Making Your Speaking Voice Sing.
This principle can refer to several Italian bel canto concepts: 1) the higher singing pitch, the lower breath support; 2) the larger space in the throat, the smaller point in the resonance; 3) sing the open vowels narrower in the high register and the close vowels wider in the low register; and 4) project the head voice solidly like the chest voice and sing the chest voice gently like the head voice.
It is unfortunate for a mezzo to have a rather restricted chest voice when the first aria is "Ah, chi mi dice mai," but this was no problem thereafter, and Karneus negotiated the characters mood swings with true acting skill and fine vocal style.