It is not unusual for a woman with a developed voice to sing through five bridges. This is approximately three and one half octaves. Through those three and one half octaves, and five bridges, she will also sing through four registers. These registers are chest, middle or mix (they mean the same thing), head and super head. Chest register is the lowest, and super head is the highest. To successfully sing through the bridges it is important to know exactly where they are. For sopranos, the bridges are as follows:

First bridge: begins at A flat and A natural above middle C. The B flat is right in the middle of the first bridge. Second bridge: begins approximately an augmented fourth above, at E flat and E natural. Third bridge: begins at A flat and A natural, approximately an augmented fourth above the second. The B flat is right in the middle of the third bridge. Fourth bridge: approximately an augmented fourth above the third, at E flat and E natural just above the woman’s high C. Fifth bridge: begins approximately an augmented fourth up at the A flat and A natural above the fourth with the B flat right in the middle of the fifth bridge.
At each bridge there is a resonance shift which takes the voice higher in the head. This shift in resonance is a result of vocal cord adjustments. For mezzos and contraltos the bridges are lower, but the vocal cord adjustments and physical sensations of resonance are the same.

There are two main difficulties that affect women’s voices:

1. Pulling chest voice too high. This can be very damaging as it causes the larynx to rise and activates the muscles on the outside of the larynx. This puts a stranglehold on the vocal cords making it virtually impossible for them to make their proper adjustments. Not only does this greatly limit range, quality and control, but it could contribute to nodules. Nodules are like calluses on the vocal cords and they sometimes occur as a result of this type of abuse.

2. Pulling head voice too low. Although not really damaging, this practice greatly limits range, quality and control. The low notes are usually very airy and the high notes don’t have the strength and ring because there is no balance with the chest resonance. The voice ultimately has no foundation and is usually very breathy with no power and intensity.

For Pop, R&B and most contemporary Musical Theater the mix is vital. It could be referred to as the correct belt because of its strength and power. It is not chest voice but it retains the quality of chest voice. The great singers in Pop, R&B, Musical Theater and Gospel are using the mix.

In order for a woman to sing with her full potential she must have a voice that sings easily and clearly through all of her bridges and registers. She can then use this coordination to sing any style that appeals to her. Listen to the voice lesson – women to hear specific examples.