A revelation of musical expression
The human voice is an instrument of immeasurable expressiveness and fascination. Hardly anyone could resist the appeal of Mahalia Jackson's singing. But how can her voice be described and classified? Is that even possible? This article examines the phenomenon of Mahalia Jackson's voice from a technical, but not unemotional, perspective, beginning with a general overview of the human singing voice.
The human singing voice is a fascinating and versatile instrument that can produce a wide range of sounds, emotions, and musical expressions. Every human being is born with a natural vocal function. Think of babies who can cry piercingly for hours without becoming hoarse—their voices are still unformed.
Over the course of a lifetime, various factors can impair this natural function or even lead to its loss:
Incorrect use or non-use
Incorrect or inadequate use of the singing or speaking voice.
Wrong "role models"
Imitation of unhealthy vocal habits.
Excessive strain
Frequent shouting, e.g. in schoolyards, or one-sided strain on the voice.
Physical factors
Anatomical conditions.
Diseases
Diseases of the larynx or respiratory tract.
Environmental influences
Dry air, smoke.
Nutrition
Certain foods or drinks can affect your voice.
The natural human voice is a complex interplay of various closely related factors. Even a change in a single parameter can affect the voice.
The voice is much more than just a means of producing sound.
It is a profound means of expression that is closely linked to our personality and emotions.
Language
Language is our primary tool for communicating thoughts and ideas. Through our choice of words, sentence structure, and tone of voice, we can convey feelings and intentions.
Singing
Singing is a primal form of human expression and communication that can evoke strong emotions. Songs tell stories, express feelings, and connect people. Singing is also a direct expression of personality.
Voice pitch and tone of voice
The way we speak says a lot about us. Voice pitch, tone, and speed reflect our emotions, personality, and attitude.
Body language
Body language also plays a role in vocal communication. Gestures, facial expressions, and posture can emphasize or even change the meaning of spoken or sung words.
Character traits
The human voice reflects character traits. Great opera composers used this aspect to write roles that were "tailored" to specific characters. Our voice reveals a lot about our origins, social status, mood, and feelings. An experienced singer can use these connections to authentically embody a character. The voice is crucial for shaping a role and can make a character appear likable, unbelievable, or convincing. This also means that a singer who sings with their natural voice reveals a great deal about themselves.
Physical factors
Physical characteristics play a simple but significant role in determining vocal range. A brief, clichéd example: a typical tenor is often shorter and has a short neck, which means short vocal cords and a high vocal range. A typical bass is slim, tall, and has a long neck, which implies long vocal cords and a low vocal range. This is analogous to a piano, where bass strings are long and higher strings are shorter. Although the facts are more complex, this example illustrates the influence of body stature on sound. For example, a broad face often indicates a large mouth and throat cavity, which means a large resonance chamber and results in a broad, round, warm, and full tone.
The sound of a voice is produced by the precise interaction of various parts of the body:
Vocal cords (vocal folds)
Located in the larynx (voice box) and produce sounds through vibrations.
Breathing
The lungs provide the airflow necessary to vibrate the vocal cords.
Resonance chambers
The mouth, throat, nasal cavities, and chest amplify and modulate the sound.
Articulation organs
The tongue, lips, palate, and teeth shape the sounds into understandable words and sounds and can be used to create "effects."
Voice ranges
The human voice is divided into different voice types, which are mainly determined by pitch and vocal range. Vocal range refers to the range of notes that a person can sing. The average vocal range is around 1.5 to 2 octaves, while professional singers often reach 3 octaves or more.
Mahalia Jackson's voice is usually defined as an alto voice.
Female voices
Soprano: High voice
Mezzo-soprano: Middle voice
Alto: Low voice
Male voices
Tenor: High voice
Baritone: Middle voice
Bass: Low voice
Did Mahalia have an alto or mezzo-soprano voice?
Dr. C. Charles Clency describes Mahalia Jackson's vocal range as mezzo-contralto, although he admits that such a unique voice is difficult to classify and sometimes defies description. Mahalia Jackson's voice is most often defined as an alto voice, similar to that of the renowned classical singer Marian Anderson. However, she was also often referred to as a mezzo-contralto or mezzo-soprano, which underscores her enormous range and flexibility. Her vocal range extended from a deep, almost tenor-like sound to high notes, with her tessitura—the range of her greatest vocal power—typically between G3 and Eb4. This impressive range led many experts to believe that she would have enjoyed similar success in a career in opera/classical music, especially since her physique and vocal technique – such as her jaw and mouth position and her upright posture – were similar to those of opera singers. No matter how she sang, her voice always had a profound connection to her body, even when she sang in the so-called "belting style." Her voice was always "open" – without register breaks or transitions. Sometimes she switched to head voice as a special stylistic device. She also liked to simply hum a verse as a variation, for example in the song "Come Sunday" with Duke Ellington. Mahalia Jackson was known for her "belting" style, in which she used her full chest voice and immense physical energy. This demanding vocal style gave her voice an impressive presence. Robert Darden compared her outstanding position in gospel to that of Louis Armstrong in jazz, highlighting her powerful, aggressive, and bombastic vocal power. Jaron Legrair described her singing as rhythmic, plaintive, improvisational, intense, emotional, expressive, and full of pure trills.
Vocal techniques
There are various singing techniques that are used depending on the style of music and cultural context. However, intensive or one-sided training can lead to a loss of natural vocal function.
Head voice
Light, high tones that resonate in your head.
Chest voice
Powerful, mid-range and deep tones that resonate in the chest.
Falsetto
A technique whereby men can produce very high notes outside their normal vocal range.
Vibrato
A gentle, oscillating pitch shift that adds expression to vocals.
Belting
A singing technique in which the chest voice is extended into higher registers. This newer form is often used incorrectly and can sound raw and uncultivated; it is primarily used in pop music.
Voice training and singing lessons
The aim of so-called "voice training" should be to "restore" natural voice function.
Breathing technique
Control and extension of air flow for longer phrases and more stable tones.
Vocal exercises
Targeted exercises for "warming up" and improving pitch and flexibility through scales, arpeggios, intervals, and vocalizations.
Articulation
Targeted training for optimal text intelligibility, since singing is sung text.
Feedback
Optimization and utilization of the various resonance chambers (mouth and throat, head, chest, abdomen) for fullness and balanced sound.
The sound of a voice is produced by the precise interaction of various parts of the body:
Vocal cords (vocal folds)
Located in the larynx (voice box) and produce sounds through vibrations.
Breathing
The lungs provide the airflow necessary to vibrate the vocal cords.
Resonance chambers
The mouth, throat, nasal cavities, and chest amplify and modulate the sound.
Articulation organs
The tongue, lips, palate, and teeth shape the sounds into understandable words and sounds and can be used to create "effects."
Mahalia Jackson's singing style was a powerful fusion of various musical influences, both sacred and secular. Her ability to blend these elements into a unique and expressive style contributed significantly to her popularity and lasting legacy.
The sounds of the streets in New Orleans
Mahalia's singing was deeply influenced by the sounds of the streets of New Orleans – from the cries of street vendors to the rhythmic sounds of work on the docks that accompanied her childhood. She integrated the "sadness" and "hope" of these sounds into her singing, giving it authenticity and depth. Music was an integral part of daily life, present at weddings, funerals, and holidays.
The "singing preachers" of New Orleans
The powerful, expressive style of the Baptist preachers in New Orleans greatly influenced Mahalia's singing style. She imitated the "screaming, moaning, singing" delivery of the preachers and incorporated these elements into her performances. The foot-tapping and hand-clapping congregational singing she experienced as a child gave her music its characteristic "bounce."
Gospelmusic
Gospel music, particularly the style of Thomas A. Dorsey, was a central influence. Dorsey's compositions, which often incorporated elements of blues and jazz, provided Mahalia with a foundation on which to develop her own style. Many of his works were composed specifically for her, and their collaboration cultivated her expressive style, both vocally and interpretively.
Spirituals
Traditional African-American spirituals, which had their roots in slavery, also played an important role in Mahalia's repertoire. These songs were part of her cultural roots. She interpreted them with deep emotion and intensity, which moved the audience deeply.
Blues
Mahalia's singing was strongly influenced by the blues, especially by the legendary blues singer Bessie Smith. Although Mahalia was not a blues singer and never sang the blues, she used its musical elements. Bessie Smith's powerful, booming voice and deep sense of rhythm inspired Mahalia. She incorporated the "blue notes," a characteristic feature of the blues, into her gospel singing, giving it additional emotional depth and authenticity.
Jazz
Although Mahalia was not a jazz singer in the true sense of the word, elements of jazz flowed into her singing, especially swing. The "bounce" in her singing, her rhythmic freedom, and her ability to play with phrasing were reminiscent of the swing style of jazz music.
Mahalia Jackson's views on vocal training were ambivalent.
She recognized the value of "training" and "musical education," but at the same time emphasized the importance of the "natural" and "untrained" voice rooted in black communities.
The influence of black folk traditions
Mahalia attributed her expressiveness to the black folk traditions of New Orleans. She cited influences such as the Holiness churches, the preaching styles of Baptists, street vendors, and railroad workers who sang. She emphasized the "sound" she heard in these influences and the importance of maximally expressive sound ideals, even if these were not taught in the traditional sense. With her statement, "I am America's most primitive singer," Mahalia strongly identified with a black, folk ethos.
The word "primitive" often has negative connotations today. However, the original meaning of "primitive" is closely related to the Latin "primitivus," which means "first," "original," or "early." In this sense, it describes something that is in an early stage of development or goes back to the roots of a development. This brings us back to the natural vocal function that every human being possesses at birth. Mahalia never lost this natural function. From childhood, she sang with a naturalness that touched people with its purity. Her "musical self-taught education" through "listening" and "imitating" also corresponded to a natural development that shaped her own style. Everything she did came intuitively.
Listen, imitate, modify, experiment, improvise – That was Mahalia's way of approaching music and new songs. She rarely took advice, as she was confident that she was on the right path. Classically trained voices often sound affected and artificial, as formal training often goes hand in hand with a loss of naturalness. Mahalia's singing style was influenced by song, gospel, and lyrics; her style was "vocal" in the truest sense of the word. Other singers, such as jazz singers, often oriented themselves toward instrumental styles.
With this free voice, which knew no register transitions and had all the necessary qualities, Mahalia had every opportunity open to her. Whether she sang an old spiritual a cappella, interpreted gospel standards together with Mildred Falls on the piano, or performed with a large orchestra such as Percy Faith's, she always impressed vocally and musically.
Self-taught with broad inspiration
Mahalia had no formal musical training, but learned by listening attentively. She studied records by opera singers such as Roland Hayes, Grace Moore, and Lawrence Tibbett to improve her diction and breathing. She was particularly fascinated by the blues singer Bessie Smith, whose sound she tried to imitate by using different mouth positions.
Observation and imitation
She also acquired singing technique by observing established gospel singers, studied performances by artists such as Ira Tucker (lead singer of the Dixie Hummingbirds), and learned from their techniques, stage presence, and interaction with the audience.
Influence of the "holy churches"
The energetic and rhythmic style of the "Sanctified Churches" had a significant influence on Mahalia's singing. She appreciated the liveliness and physicality of these churches and incorporated elements of them into her performances.
Rhythmic freedom
Jackson's trademark was the "bounce," a rhythmic energy that permeated her singing. She varied tempos, shifted accents, and broke with convention to heighten the emotional intensity of the songs.
Improvisation and spontaneity
Mahalia did not rely solely on written melodies, but improvised and reshaped her songs each time she performed them. She responded to the energy of the audience and let herself be guided by the moment. Her piano accompanist, Mildred Falls, had a gift for responding to all her improvisations and supporting her.
Combining blues and gospel
Mahalia's singing style combined the emotional depth of blues with the spiritual fervor of gospel. She used techniques such as slides, bends, and blue notes to give her songs a special, moving quality.
Use of the body
Mahalia put her whole body into her singing. She moved, danced, clapped her hands, and sometimes even got down on her knees to express her emotions and get the audience going.
In summary It can be said that Mahalia Jackson's singing technique was a unique blend of innate talent, the study of various influences, and the conscious use of her voice to create maximum emotional and spiritual impact. Despite its power, Mahalia's voice was very warm and deep, and could also sound very delicate and soft. She was a master of improvisation and spontaneity and was not afraid to break conventions to create her own distinctive style.
What is a cappella singing?
"A cappella" (Italian for "in the chapel") refers to a form of singing in which pieces of music are performed exclusively with the human voice and without instrumental accompaniment. It originated in early sacred church music. Melodies, harmonies, and rhythms are produced solely through singing. Typically, a cappella groups sing in different voice ranges (e.g., soprano, alto, tenor, bass) to create a harmonious and multi-layered sound structure.
In the early gospel tradition, a cappella singing was widespread, as many church congregations did not have access to instruments. It allows for complete control over phrasing, dynamics, and the emotional expression of the song. Given Mahalia's emphasis on "feeling" and "spirit" in gospel singing, it is plausible that she valued a cappella singing as a means of expressing her musical message even more directly and authentically. Solo a cappella singing presents a particular challenge, as there is no harmonic support from other voices or instruments.
Characteristic features of a cappella singing
No instrumental accompaniment
All sounds, melodies, harmonies, and rhythms are produced exclusively with the human voice.
Diversity of voices
A cappella groups typically sing in multiple voice parts, with the voices often taking on the role of instruments.
Vocal imitation of instruments
In modern arrangements, instruments or percussive elements (e.g., drum beats) are often imitated vocally ("vocal percussion" or "beatboxing").
Harmony and polyphony
A cappella singing is characterized by complex harmonies and often polyphonic structures, in which several voices sing independent melodic lines that combine to form a single sound.
Vocal expressiveness
Without instrumental accompaniment, the focus is on the singer's pure voice, dynamics, and interpretation.
Tradition and modernity
A cappella singing has a long tradition (e.g. in Gregorian and polyphonic church music), but is also used in barbershop singing and modern genres such as pop, jazz and gospel.
Group performance
Often performed in groups, requires precise intonation and timing.
Creative arrangements
Songs are often reinterpreted or original compositions are presented.
Significance and history
The a cappella style has developed over centuries and is an important part of vocal music.
Mahalia Jackson possessed a voice that transcended mere singing. It was an instrument of extraordinary power, deeply rooted in the African-American gospel tradition and capable of touching and inspiring souls. Her vocal qualities, characterized by a unique blend of technical brilliance, emotional depth, and spiritual devotion, make her an icon to this day.
At the heart of her vocal artistry was her powerful and captivating alto voice. Her ability to fill large halls and churches with her resonant voice was legendary and demonstrated impressive vocal control and projection. But it wasn't just the volume that impressed; it was the way she used her voice.
Her singing was characterized by an unmistakable "bounce" and infectious rhythmic energy. This lively style captivated listeners and encouraged them to clap along and tap their feet, creating an immediate connection between the singer and her audience. Although she was completely devoted to gospel, her voice had unmistakable blues influences that gave her singing an extra layer of depth and authenticity.
However, her singing was much more than just "technical" virtuosity. It was characterized by overwhelming emotional depth and expressiveness. She conveyed the messages of gospel songs with a fervor and authenticity that went straight to the heart. Her ability to express joy, sorrow, hope, and comfort through her voice was unmatched.
Another hallmark of her style was her freedom and improvisational skill. Mahalia did not slavishly adhere to sheet music, but let herself be guided by the spirit, varying melodies and rhythms and improvising. This gave each of her performances a unique liveliness and spontaneity. Equally characteristic were her vocal "screams" and "moans," which recalled the tradition of African American "work songs" and "field hollers" and gave her singing a raw, primal power.
All these elements contributed to a unique and inimitable style. Many tried to copy her singing, but no one succeeded in capturing her special combination of power, rhythm, and emotion. Her voice was a reflection of her personality and her deep faith.
The spiritual dimension of Mahalia Jackson's voice is repeatedly emphasized in all sources. Her singing was an expression of her deepest faith and devotion to God. She sang to comfort, inspire, and give hope to people. She herself described her singing as "joyful noise to the Lord," a deeply personal form of expressing her joy and gratitude to God. Laurraine Goreau, her biographer, aptly described her as a "priestess in the Negro church" whose voice had the uncanny ability to move people deeply. It is reported that many people found her singing healing and comforting, giving them strength and confidence in difficult times.
In terms of vocal technique, Mahalia Jackson was a master of her craft, despite being self-taught with no formal musical training. She developed her skills by listening attentively to other singers, particularly on records, and incorporated these influences into her own distinctive style. Her technique was a conscious application of her talent to achieve maximum emotional and spiritual impact.
In summary, Mahalia Jackson's voice was an extraordinary instrument that uniquely combined power, rhythm, emotion, and spirituality. She used her voice not only to sing, but as a tool to proclaim the messages of gospel songs with fervor and authenticity, touching and inspiring millions of people around the world.
"A voice like this comes only once in a millennium."
(Dr. Martin Luther King)
©Thilo Plaesser
An interesting video on the topic of "Mahalia Jackson's voice" was published on YouTube in 2023 by Milik Kashad.