Many years ago when I first started my voice lessons, I thought that the secret to getting my voice heard over an orchestra was to "sing louder than the band".
This resulted in days of fatigue and frustration in vocal manipulation that just didn't seem to cut the mustard.
It wasn't until I started to do my non-vocal detective work that I found out that it wasn't about the volume of my voice, but how everything played out with my "format".
The human voice has a frequency range that lies approximately between 300 Hz to 3400 Hz.
This range takes into consideration the very lowest to the very highest voice on the planet.
The voice sung at a "ah" (as in "h'aw'ed") on a C4 (middle C) has a frequency range peak at approximately 575 Hz (the region of vowel definition covers 200 to 800, but the peak is at 575 Hz).
Below is a frequency range of the instruments of an orchestra minus the percussion.
Instrument (from lowest to highest limit) Violin G3(196.
0) E7(2637.
0) Viola C3(130.
8) C6(1046.
5) Cello C2(65.
4) E5(659.
3) Double Bass E1(41.
2) B3(246.
9) Flute C4 (261.
6) C7(2093.
0) Oboe Bb3(233) F6(1396.
9) English Horn Eb3(155.
6) Bb5(932.
3) Clarinet(Bb) D3(146.
8) Bb6(1864.
7) Bass Clarinet(Bb) D2(73.
4) F5(698.
5) Bassoon Bb1(58.
3) Bb5(932.
3) Contrabassoon Bb0(29.
1) Eb3(155.
6) Horn(double, F & Bb) B1(61.
7) F5(698.
5) Trumpet (Bb) E3(164.
8) Bb5(932.
3) Trombone(tenor) E2(82.
4) Bb4(466.
2) Trombone(bass) B1(61.
7) Bb4(466.
2) Timpani F2(87.
3) F4(349.
2) Harp B0(30.
9) G#7(3322.
4) If we look closely, we see that our "ah" on C4 is overlapped by many of the instruments in the orchestra.
So, our "singer's format" is the secret that carries our voice over the orchestra.
The frequency range for the voice starts to dip at around 1000 Hz, but starts to increase again in different places for different voices.
For me (Tenors & Bases), the peak happens from 2800 Hz to 3200 Hz, for Mezzos, from 3200 Hz and up for Sopranos reaching 4000 Hz.
This "format" is what gives the accomplished singer their "ring" or resonance.
This phenomenon is by no means recent as Vennard dubbed it the "2800 factor" where the resonators are in tune with the vibrator (vocal folds).
When I learned this, I realized that if I wanted to cut through and be heard by the little ol' lady in the back with a bad hearing aid, I had to rethink my "volume" plan.
Many singers will try to "power" out those notes to be heard, which has the complete opposite effect.
Lightening up and correct vocal technique will align everything and the correct format will be achieved naturally and without much effort.
Public speakers need to keep this in mind as well.
Many of them won't "sing" a speech, but they will use tone inflections to bring home a point.
If correct voice technique is applied, the speaker will find that their voice increases in volume and they are able to speak for hours without going hoarse at the end of the day.
Correct technique is key and many people rely on mics to do our work for them.
Microphones only amplify what's already there and if your voice has that "ring", it's more pleasing to the ear.
Some singers and speakers will still grunt, yell, whisper and power their way through a performance / presentation, but the results are the same for an untrained voice,..
vocal fatigue, little power and an unpleasing sound.
It's not about power, it's about proper technique.
Training your voice is key if you are going to make your living from it.