Chest voice

[4] However as knowledge of human anatomy has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production.

For this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest.

Chest timbre can add a wonderful array of sounds to a singer’s vocal interpretive palette.

However, there is a developing body of scientific knowledge regarding the production of various definitions of chest voice: This viewpoint considers “chest voice” as the result of phonation where thyroarytenoid muscle function heavily dominates cricothyroid muscle function.

These internal phonatory sensations produced by laryngeal vibrations are called "resonance" by singers and teachers of singing.

Consequently, a large proportion of the vibratory energy is transmitted to the thoracic area, giving singers the impression that their voice is resonating in the chest.

The chest by virtue of its design and location can make no significant contribution to the resonance system of the voice.

The chest is on the wrong side of the vocal folds and there is nothing in the design of the lungs that could serve to reflect sound waves back toward the larynx.

Tenor, baritone, bass, alto, mezzo-soprano singers produce pro-dominant harmonics during singing when they perform in full chest voice.

EGG graph indicates vocal fold vibration between the time 0.90 to 1 (seconds). Darker areas refer to closed positioning of vocal folds and lighter areas refer to open positioning which in turn allows us to determine closed quotient ratio.