How to Transition from Classical to Pop Singing Styles (or Vice Versa!)
Can a Classically Trained Singer Teach Pop Technique?
When I first began teaching private voice lessons after completing my bachelor’s in classical music, I was confronted with a question that made me question my qualifications: Can a classically trained singer teach pop technique?
At the time, I felt the weight of this question deeply. My classical training had been rigorous, and I had spent countless hours honing my voice for operatic roles, focusing on stamina, flexibility, and a pure, resonant sound. But pop singing? That was a different beast entirely. I had spent years perfecting my technique for a coloratura soprano role, but I had barely explored how to belt a song or use a powerful chest voice in the way that pop singers like Kelly Clarkson or Ariana Grande did. How could I help my students belt out pop hits with confidence if I wasn’t even sure how to belt myself?
This fear of inadequacy became a barrier. I procrastinated opening my studio for months because I was paralyzed by the thought of being unable to help pop singers achieve their goals. After all, the techniques for classical and pop singing felt worlds apart, and I wasn’t sure where to even begin with bridging that gap.
But after a lot of reflection, I decided to tackle my doubts head-on. I researched pop technique, watched countless masterclasses from pop singers and vocal coaches, and experimented with my own voice to find what worked. And the most surprising thing? Instead of abandoning everything I had learned in classical training, I found that there were actually significant overlaps between the two styles. Once I understood the fundamental differences and similarities, I realized that transitioning between classical and pop singing styles wasn’t just feasible—it was deeply enriching for both me and my students.
In this post, I want to share the most valuable insights I’ve gained from my journey of learning to teach pop technique, and how classical singers can approach pop singing without feeling like they’re starting from scratch.
What Are the Key Differences Between Classical and Pop Singing?
It’s easy to assume that classical and pop singing are drastically different—after all, when you listen to a pop song and a classical aria, the sound is unmistakably different. But the mechanics of singing are, at their core, remarkably similar. So what creates this striking difference in sound?
The primary distinction between classical and pop singing lies not in the anatomy of the voice but in the environment in which the voice is used. Classical singing techniques were developed in an era without microphones, where singers had to project their voices over an orchestra to be heard in a large hall. Pop singing, on the other hand, uses microphones and sound systems, which fundamentally changes how singers approach their technique.
In other words, classical singers rely heavily on resonance to be heard, while pop singers rely on external amplification. Both styles utilize the same anatomical structure—vocal cords, resonance chambers, breath support—but they apply these elements in different ways to produce distinct sounds.
How Classical Singers Project Their Voices
To truly understand how classical singers project their voices, it’s important to grasp the concept of resonance. Many people think that the voice we hear from a singer is produced directly by the vocal folds in the larynx. While this is partially true, the actual sound produced by the vocal folds is more like a buzzing, and what we hear is the result of this buzzing being amplified and modified as it travels through the resonating spaces of the throat, mouth, and nasal passages.
This is where formants come in. Formants are specific frequencies that occur when sound waves pass through the vocal tract and create distinct pitches. For classical singers, the “singer’s formant” is particularly important. This is a unique frequency range, typically between 2500-3200Hz, which helps singers project their voices over an orchestra without microphones. Achieving a strong singer’s formant allows classical singers to maintain clarity and power in their voices, even in large venues, by maximizing the efficiency of their natural resonance.
However, this reliance on self-generated resonance creates challenges. For instance, classical singers must constantly balance clarity, diction, and dynamic variation, while always ensuring their voices are loud enough to be heard over orchestral instruments. These challenges are less of a concern for pop singers, as microphones and sound systems do the heavy lifting.
How Pop Singers Project Their Voices
Pop singers, in contrast, have the luxury of using microphones and amplification systems. The ability to amplify their voices means they don’t need to rely as heavily on the resonant qualities of their voice. This gives pop singers more creative freedom in how they use their voices, leading to more varied and stylistically diverse sounds.
Take Billie Eilish, for example. In her song idontwannabemeanymore, her breathy, airy vocal style would be virtually inaudible in a large, unamplified space, but with the help of a microphone, it has the desired emotional impact. Pop singers like Billie Eilish, or even Adele, can produce a variety of sounds—whispery, airy, or bold—without worrying about whether the audience can hear them. The microphone can capture every subtle detail, allowing pop artists to experiment with different vocal textures and tones.
This amplification doesn’t mean that pop singers don’t use their vocal muscles effectively; it simply means they can engage them in different ways than classical singers. Pop singing allows for more variety in vocal dynamics and allows artists to explore different sound qualities without the pressure of needing to project acoustically in a large room.
Chest Voice vs. Head Voice in Classical and Pop Singing
Another key distinction between classical and pop singing lies in the use of chest voice versus head voice. Classical singers, particularly sopranos and tenors, rely more heavily on their head voice—the lighter, higher register that resonates in the head and sinus cavities. Chest voice, which creates fuller, richer tones, is used more sparingly in classical singing, as the focus is on creating a smooth, even sound across registers.
In contrast, pop singers use chest voice much more often, especially in belting. Belting involves extending the chest voice into higher notes, which creates the powerful, resonant sound often heard in pop, rock, and musical theater. The chest voice provides the "full" quality that gives pop singing its force, whereas head voice is often reserved for softer or higher-pitched passages.
Anatomically speaking, the chest voice is controlled by the thyroarytenoid (TA) muscles, which are responsible for producing lower, fuller sounds. The head voice, on the other hand, is controlled by the cricothyroid (CT) muscles, which allow for higher, lighter notes. Many pop singers use a mixed voice, combining elements of both chest and head voice to create a seamless transition between registers.
The Role of Belting and Twang in Pop Singing
In pop music, belting and twang are two techniques that are used to create a powerful sound without straining the voice.
Belting: Belting is when a singer extends their chest voice into higher notes, producing a bright, powerful sound. Belting is common in musical theater, pop, and rock, and requires careful control to avoid straining the vocal cords. For classical singers transitioning to pop, belting is often the most challenging technique to master, as it demands a much greater reliance on chest voice than classical singing does.
Twang: Twang is another technique used in pop singing to add brightness and cutting power to the voice. Twang is produced by narrowing the aryepiglottic sphincter, a small structure in the throat, which enhances the efficiency of vocal cord vibration. Singers like Lady Gaga and Demi Lovato use twang to give their voices a sharp, focused sound that stands out even in dense musical arrangements. Twang allows for greater volume and clarity without the need for excessive breath support or strain.
Both belting and twang allow pop singers to achieve their desired vocal sound while still maintaining vocal health. These techniques, however, require precise breath control, vocal fold closure, and resonance tuning to avoid fatigue or damage.
Final Thoughts: Embrace the Challenge
Looking back, my initial fear of teaching pop technique as a classically trained singer seems almost laughable. What I initially saw as a limitation—my classical training—turned out to be one of my greatest assets. By studying pop techniques, I was able to understand my voice in a new way and deepen my understanding of vocal anatomy. My classical background gave me a solid foundation for exploring pop singing without abandoning the principles I had spent years mastering.
The key takeaway here is this: no vocal style is off-limits to a well-trained voice. Whether you're a classically trained singer wanting to branch out into pop, or a pop singer curious about classical technique, don’t be afraid to explore. You’ll be amazed at how your voice can grow when you give yourself the freedom to experiment with different techniques and styles. Every style has something valuable to offer—and your voice is capable of adapting to all of them.
