1.1.2.g The Tower of Babel
Bad Teaching 4: The Tower of Babel
There is no head voice, or chest voice, or falsetto voice. These terms, often used to describe different registers, are arbitrary—and worse, there’s no universally accepted definition. Yet people in positions of authority use them in ways that ignore this fact. You could just as easily call them sink voice, shovel voice, or bumblebee voice and cause less confusion. Still, they appear in most vocal pedagogy systems, though each source has its own explanation of what they mean acoustically or physiologically. If I asked one hundred singers to stick out their tongues, they’d all do essentially the same thing. But if I played a short melody and told them to repeat it in their head voice, I’d see a variety of responses. If I then asked how they did it, we’d have almost as many answers as singers. Despite this undeniable reality, teachers, choir directors, and so-called experts go on using these terms as if they’re part of a shared, universally understood vocabulary. This confusion goes far beyond word choice, which is what we’ll explore next.
Experts Don’t Agree on Everything
You’ve probably seen ads declaring, “Experts agree!” In the singing world, experts disagree—a lot. Some insist humans began singing 300,000 years ago, while others say 27 million years ago. That’s a huge discrepancy, to say the least.
During my master’s in Voice Pedagogy, I discovered people argue about nearly everything: from the specifics of breath support to whether we should label the field “Voice” or “Vocal” Pedagogy. It might sound trivial, but it reveals how deeply ingrained some of these debates truly are.
Embrace the Spectrum
All this disagreement needn’t deter you. I’m not claiming my approach suits everyone—it’s simply what I’ve developed over decades of teaching thousands of singers. There’s plenty of room for experimentation. By staying curious and open, you’ll find the concepts that resonate with you.
The Power of Shared Understanding
Why We Define Terms
Because singing is so subjective—and because we can’t see what’s happening inside the vocal folds—it’s crucial to define our terms. Dictionary definitions alone won’t help; many words have multiple meanings. Throughout Singers at Play, I’ll make clear how I’m using key terms.
A Compass for Future Lessons
Recall the strawberry dilemma: certain experiences are nearly impossible to convey in words alone. Singing shares that complexity. My job is to offer roadmaps and exercises; yours is to explore, notice, and refine.
Bottom Line
Strawberry Thought Experiment: Words alone can’t convey experience.
Falsetto Analogy: Some vocal processes must be felt, not simply defined.
Unique Perceptions: Every singer’s physical and mental makeup is unique.
Divergent Expert Opinions: Embrace varied viewpoints and choose what works for you.
Shared Vocabulary: Reduces confusion in a highly subjective art form.
When someone says, “It’s easy—just do what I do,” remember Dave and that strawberry. They might be describing a flavor you haven’t tasted yet. Stay curious, and keep exploring—your voice is waiting.
The Singer’s Ultimate Responsibility
Why does this matter to you? Because no teacher, however skilled, can sing for you. Your voice is ephemeral and personal, and only you perceive its sensations from the inside. A teacher may stand outside your body, carefully listening and advising, but they can’t feel the precise interplay of tension and release in your laryngeal muscles. In the end, your success depends on self-awareness and self-diagnosis more than most people realize.
That’s why singers must be empowered: to question, test, discern, and adapt. A teacher can be your sherpa up a steep mountain, but you’re the one who has to climb. Because the voice is so fleeting, consistent, mindful observation falls to you. Otherwise, you risk cycling through the same problems over and over.
A Framework for Vocal Empowerment
To avoid “solutions-without-diagnosis,” this course rests on a clear framework:
A Solid Diagnosis Requires Understanding the System
You have to grasp how the voice is designed—its anatomy, breath support, resonance, and articulation—before you can tell when something goes off track.
An Effective Solution Depends on an Accurate Diagnosis
You can’t fix a problem properly unless you can name it and pinpoint its cause. Vague talk of “a weird sound” or “tightness” won’t replace knowing exactly what’s wrong.
In a Teaching or Learning Context, You Need to:
Understand how a system or concept works
Spot potential pitfalls, challenges, or “threats” to vocal health and technique
Develop effective strategies (solutions) for those threats
Stay guided by clear goals or learning outcomes
You’ve already set a foundation by examining how the voice operates. With that base in place, it’s time to sharpen your diagnostic skills and learn how to deal with potential stumbling blocks. In other words, we’ll shed light on the vulnerabilities and “threats” that could disrupt your progress.
Looking Ahead
So where do common singing problems come from? How can you catch issues early and avoid random trial-and-error fixes? In this next section, we’ll focus on helping you diagnose and resolve typical vocal challenges before they grow into serious roadblocks. We’ll explore everything from posture and tension to performance anxiety and vocal fatigue. You’ll see how to match each threat with a practical solution, anchored by a solid grasp of what’s happening in your instrument.
By the end, you should be more confident asking the key question—“What’s really wrong with my sound?”—before you race to fix it. This means every warmup, exercise, or adjustment has a clear purpose rather than relying on one-size-fits-all advice.
Final Thoughts
You’ve seen how chasing quick fixes can leave deeper issues unaddressed, limiting your true potential. Placing diagnosis at the heart of your vocal journey ensures that each new technique has a lasting impact. As you continue, you’ll discover why overlooking proper diagnostic steps can keep you below your natural abilities—and how zeroing in on the real cause of a vocal fault puts you firmly in control.
Lesson Summary
This lesson emphasizes how subjective and often contradictory vocal terms—like “head voice,” “chest voice,” and “falsetto”—can create confusion and hinder progress. It argues for a more precise, shared vocabulary and highlights the importance of individual responsibility, as each singer alone perceives and refines their own voice. By focusing on accurate diagnosis, you can adopt more meaningful techniques and avoid one-size-fits-all advice.
Ambiguous Terminology: Common register labels vary widely and can mislead singers who assume a shared definition.
Experts Disagree: Singing methods and even basic terms differ, reflecting the field’s inherent complexity.
Singer’s Responsibility: Only you can truly feel and evaluate your voice from the inside, making your awareness crucial.
Importance of Diagnosis: Pinpointing the root cause of an issue ensures targeted, effective solutions.
Exercise or Activity: “Build Your Personal Vocal Dictionary”
Identify Key Terms: Write down three or four vocal terms you frequently hear (e.g., “head voice,” “chest voice,” “falsetto,” “mix”).
Reflect on Meanings: Next to each term, note what you believe it describes—consider physical sensations, sound qualities, or emotional impressions.
Seek Multiple Perspectives: Compare your definitions with a teacher’s, a peer’s, or reliable sources. Pay attention to any disagreements or new angles you discover.
Refine and Define: Adjust or expand your definitions to incorporate what you’ve learned. Make them as clear and personal as possible, focusing on concrete descriptions (e.g., “I feel a light buzz near my nasal area”).
Apply to Practice: Choose a short song or vocal exercise, and actively label which “register” or term you think you’re using. Note how well your definitions match your actual experience, fine-tuning your understanding as needed.
