Who sings what with a heavy mechanism?

We now enter the heavy mechanism era - which tend to mature and last if the voice and function are cared for well.

A heavy mechanism can certainly be bestowed on a younger singer, and usually, again, is more medium to heavy on the spectrum. As the mechanism ages, it can move into a heavier position due to hormonal adjustments and laryngeal weight.

The heavy mechanism characters brings gravitas. That doesn’t mean old. It can mean sage. It can mean magical. It can mean wisdom. It can mean lived-in sarcasm. Well lived-in humor. Well-earned stone cold villian or villianess. These characters have earned their position, and do not need to make any excuses for it. They are life-filled; experience-filled; grounded and without apology.

The voices in this spectrum are more chest dominant, and aware of how they move their fundamental balance throughout their registrations. There is even more definition in registers in color and texture and timbre. Interestingly, there is just as much variance in the vocal texture as in the medium mechanism: from dense and smooth, to rough and smoky, to raspy and reedy, to raw and open, to edgy and metallic, to animal-like in growl and purr.

Who are these characters that can be embodied by a heavier mechanism voice? Ursula, Mama Rose, Beverly (come from away), Hades, Hermes, Shakespeare (Something Rotten), Caiaphas (Jesus Christ Superstar), Funmilayo (Fela!), Joanne (Company), Mama Morton, Sweeney Todd, Frollo, Mrs Meers (Thoroughly Modern Millie), Joe (Showboat), Man of La Mancha, Miss Trunchball (Matilda), Bill Sykes (Oliver!), Mr Hyde (Jekyl & Hyde), Scar (Lion King) to name a few. Now, before you say, “but Susan..” yes. Some medium mechanism voices can also play these roles if the gravitas of their voice has the necessary qualities to embody the needs of the character.

Singers who embody this heavier mechanism possibility: Lillias White, Patti LaPone, Debra Monk, Elaine Stritch, Philip Boykin, Joshua Henry, Christian Borle, Orfeh, Patrick Page, Heidi Blickenstaff, Badia Farha, Natasha Yvette Williams, Alex Newell; in the pop/rock & R&B world, voices like Steven Tyler, Jennifer Hudson, Steve Perry, Ann & Nancy Wilson of Heart, could fit into this category. And the list goes on!

Heavier mechanisms often reveal a density of voice early on, and a naturally full and substantial chest dominance. These mechanisms often have a very clear “shift” as they ascend through registrations, but as the voices ages and are well looked after, they can continue to find gravitas, spaciousness and often take chest dominance higher than other mechanism weights. Some heavier mechanisms have flexibility, and some do not. Some mechanisms are more conditioned to “speech singing” while others have more lyricism. The high rock belt has a density that a heavy mechanism can achieve in the tenor voice. There is always more chest dominance in the fundamental of the sound due to the weight of the mechanism naturally.

Heavier mechanism voices can certainly be challenging when they are learning to balance weight of registration. It’s very common for them to want to take raw chest dominance much higher than they should, because they are strong enough to! Then suddenly, registration comes off the rails. This is why, within a heavier mechanism voice, you can achieve that raw chest dominance, that moves into a reedy almost steel-like scratch, and then into a highly metallic belt position. And that’s just within ONE mechanism!

Others have less access and will speak pitch more than sing it - and it is usually heavily chest dominant. Some heavier mechanisms don’t have ease in flexibility - and others do. Again, it’s an individual thing. Heavier mechanisms has power in the speech sing, and power and sustain in the singing line. The weight of that heavy mechanism needs lots of cross-training in the upper extension to stabilize the weight that occurs so can stay even and fluid, even in the speak-sing. If not, it can easily lose fundamental pitch center, and get too heavy.

We can make a general observation, and then we have to move into the individuality of the voice, and the human that embodies that voice. There is no black or white. Lots of gray and lots of color and lots of exploration allow voices to find out how they individually function the most effectively.

Keep exploring, keep listening - to others and to yourself - and observe fully. What do you hear? What do you see? What is the body doing? What does the language reveal about the voice? What is the style demanding? Then whether it’s light, medium or heavy, you have the opportunity to make a role your own, and ultimately find the authenticity of your voice fully.

This is just the beginning. Get into the exploration of it all!