Singwise - Singwise - Breath Management ('Support' of The Singing Voice) - Merged PDF

24/2/2019 Singwise - Singwise - Breath Management ('Support' of the Singing Voice)
INTRODUCTION VOCAL TOPICS QUICK REFERENCE VOCAL FAQS LESSONS WITH KARYN
SINGWISE ACADEMY SINGING 101 WORKSHOP WORKSHOPS
SINGWISE
A N I N F O R M AT I O N B A S E D R E S O U R C E F O R S I N G E RS BY V O C A L T E C H N I Q U E I N ST R U CTO R , K A R Y N O ' CO N N O R
Check out Karyn's channel for more informative, practical content!
B R E AT H M A N A G E M E N T ( ' S U P P O R T ' O F T H E S I N G I N G V O I C
The purposes of 'supporting the voice' are to exercise control over the amount of air being expelled from the lungs during singing tasks and to maintain a
of air (and thus create a steady singing tone).
The di erence between how we breathe for singing and how we breathe for other daily activities lies not in the mechanisms but in how the airflow is regul
demands that our bodies have for air changes with di erent activities. Although it is still in accordance with the natural functioning of the body, 'natural b
employed for speech is not adequate for intense singing demands. During normal demands, such as speaking or resting, we tend to inhale and exhale mo
and evenly because our bodies don't require as much oxygen. Air is exchanged in cycles of approximately four to six seconds; this di ers slightly from perso
During singing, however, we need to inhale quickly and o en deeply, then exhale slowly and steadily, in a long breath, as we sing our phrases or notes.
Singing requires a higher rate of breath energy than speaking does, as well as the elongation of the breath cycle. The rate of expiration has to be retarded b
appropriate to speech, especially during passages or notes of durations greater than the normal 'at rest' breath cycle. This higher need for energy and stam
more muscle control and coordination in supporting the work of the diaphragm and the function of the larynx, and this is the part of breathing that
developed through training. Learned controls must be mastered in order to enhance and extend breath management capabilities.
When it comes to supporting the tone of the voice, there are two schools of teaching: 1) a contracting of the abdominal muscles; and 2) an 'inspi
(appoggio).
Many contemporary methods of teaching encourage a contracting of the abdominal muscles. This technique involves utilizing the muscles of the abdom
create an upward and inward force or pressure. The initial power of the voice is o en loud (in part because the glottis tends to respond to the forceful air
increasing its resistance, and pressing together more firmly and for longer during the closed phase of the breath cycle), but this power is not usually sus
very long. Attempting to support or 'breathe from the belly (or diaphragm)' like this creates a number of potential problems with how the breathing 'eng
larynx interact with each other. For example, rapidly pushing the abdominal wall inwards and upwards places pressure on the diaphragm, which then rises
compresses the lungs, increasing the air pressure in the lungs. Air is forced out of the lungs rapidly, and through the glottis at a very forceful rate. The
responds by either pressing the vocal folds together more firmly and for longer before sound is created (pressed phonation) or it blows apart and create
breathy tone.
In most classical singing schools, a technique called appoggio is taught. Appoggio requires support from the muscles involved in inhalation, rather
responsible for forced expiration. Essentially, we delay, slow down and steadily pace the rise of the diaphragm by continuing to use the inspiratory muscles
which happens on the exhale. (This centuries old concept expressed by great teachers of the past such as Giovanni Battista Lamperti, is sometimes p
'singing on the gesture of inhalation'.) During appoggio, we rely on the muscles of inspiration to help keep the diaphragm lower, in its position assu
inhalation). These muscles are primarily those that wrap around the ribs (the external intercostals and the interchondral part of the internal intercostal mus
http://www.singwise.com/cgi-bin/main.pl?section=quickRef&doc=Breathing_InAPinch 1/5
the back muscles are contracting to maintain this 'inspiratory hold', the abdominal muscles must remain relaxed (thus the abdominal wall and lower ribs
and back will remain expanded throughout most of the breath cycle). By 'supporting' with the inspiratory muscles, we keep the diaphragm lower and the lo
expanded, which in turn creates lower subglottic pressure by maintaining the enlarged dimensions of the thoracic cavity. (It should be noted that s
abdominal muscles are involved in initiating the airflow through the glottis, but the most important habit to avoid is the tendency to push the air out of t
engaging and contracting or tightening the muscles of the abdominal wall. This will create too much subglottic pressure, an unsteady volume and tone and
of air, and will lead to pressed phonation and potential vocal injury.)
Students of voice need to learn how to extend the normal breath cycle by remaining in the inspiratory position for as long as is both possible and c
maintaining a raised sternum (but not raised shoulders or clavicle), avoiding displacement of the chest (or collapse of the ribcage), and allowing the mu
lateral abdominal wall to stay close to the position of inhalation. This vocal posture is o en referred to as the 'inspiratory hold'.
With the diaphragm kept in a lower position for longer, and with less air in the lungs to start out with, there will be less air pressure pushing on the vocal fo
will notice that their endurance increases because they are no longer pushing the air out as rapidly. This will help them sing for longer on a single breath
preserve their longterm vocal health. Also, with more appropriate air pressure on the closed vocal folds during phonation, the tone will sound better - mo
easy, and steady.
C O M M O N B R E AT H I N G T E C H N I Q U E M I S TA K E S
Tanking up: Most singers inhale as deeply and as fully as they possibly can as they prepare to sing each line of their songs or their vocal exercises, o en in
to avoid running out of air before the end of their vocal tasks. They may have also been taught that more air necessarily means a better supported ton
'tanking up' or 'overcrowding the lungs' like this unnecessarily increases the subglottic pressure (the air pressure below the larynx). For shorter exercises a
less air is needed to fuel the voice. If appoggio technique (the 'inspiratory hold') is maintained, the outgoing air will be slowly and steadily paced, and ther
need to fill up on air for shorter vocal tasks. It is critical that the singer learn to gauge precisely how much air is appropriate for the upcoming vocal tas
inhale only the necessary amount of air. There should not be a tremendous amount of air 'le over' at the end of the phrase.
Singers who tank up also o en have a tendency to close o the glottis in order to stop the tone, employing the adductor muscles (those which close
instead of the abductor muscles (those which open the glottis) to stop phonation. Sometimes, the singer does so in a attempt to ensure precision of the re
note. O entimes, however, this habit leads to a lowering of pitch at the end of the note, as well as a noisy release of the remaining and excess air a er t
ended because the closure of the glottis at the end of the phrase in combination with excessive amounts of air remaining in the lungs causes an increase i
pressure, pressing of the vocal folds together and a 'pressurized' release. Learning to drawn in less air to begin with, to pace the outgoing breath slowly a
and to release the note precisely but with a relaxed and open throat will solve this problem.
Pushing out the air: Ideally, we want to think of the air as being 'allowed' out, rather than being 'pushed' out, to create voice. I use a balloon analogy
actually used this as an exercise with real balloons in group voice classes - that helps to illustrate this concept. When we inflate a latex balloon (lungs) an
mouth of the balloon (closing the glottis, or approximating the vocal folds), air pressure immediately begins to build up. When we stretch the mouth of t
allowing air to slowly seap out, the latex begins to rapidly chop the exiting air into tiny pu s, thus creating sound (voice). If the mouth of the balloon is stret
and pulled longer (as what happens when the larynx pivots to elongate and tighten the vocal folds), higher pitch is created. Now, suppose for a minute tha
to 'help' the air make its exit by squeezing the body of the balloon (as when we compress the air with a diaphragm that has been forced upward by
muscles). What we will hear is a louder initial sound, yes, but also a less pleasant and more unsteady tone. Additionally, the air will be lost more rapidly.
In the case of the human voice, pushing in with and contracting the abdominal wall will tend to lead to either pressed phonation (a 'shouty' or forced voic
a breathy quality a er the initial onset due to the vocal folds being blown apart by the forceful air. Singers must be assured that the air will flow out of
virtually on its own, thanks to the elastic recoil of the lungs, and there is, therefore, no need to either 'help' it along or to force it out. (This is why we sho
relax the abdominal muscles.) Of course, di erent styles and techniques may require a more forceful expulsion of air in order to create the desired soun
general rule, too much air being forced out of the lungs is both unnecessary and unhealthy.
Holding back the air: Many singers hold back the air, or choke it o , either at the laryngeal level, in which the singer closes the glottis immediately a er inh
briefly pauses before producing voice (known as compression of the breath), or at the supraglottic level, in which the muscles of the throat constrict or s
inhibit the airflow. Holding back the air in these manners are the result of poor coordination between the breathing mechanism and the larynx. In
subglottic pressure will rise, forcing the glottis to have to work harder, and opening up the door to potential injury. The voice will also sound less steady a
singer who briefly holds in the air before singing needs to develop the coordination of inhaling then immediately turning that breath into tone. For the
tends to cut o or hold back the breath with the muscles of the vocal tract, training in the Farinelli exercise, which I describe below, will help him learn
more openness and relaxation of the vocal tract. Singing with a more open and relaxed throat is critical.
Singers who choke o the breath, especially at the release of the note, can practice briefly sustaining a vowel on a comfortable pitch, then gradually allowin
to become just a stream of air (with no vocal sound). Gradually increasing the space in the glottis (moving from closed glottis to partially open glottis to o
may require some practice, as it will be a new and challenging coordination to learn. For most singers who first try this exercise, they find that they have
maintaining the same pitch (and some can't sustain voice) once the glottis starts to open. The key is making this change from a 'clean' tone to a breathy
voice (only exiting air) gradual and controlled. Higher pitches can be tried once the singer can successfully execute this exercise within speech-inflection ran
G O O D P O S T U R E F O R B E T T E R B R E AT H I N G
The singer should achieve a 'lateral' expansion around your epigastric region - the area between the navel and the sternum. This also includes the lowe
sides and, to some extent, the back. The sternum should be raised during inhalation, and there should be no chest displacement (collapse) therea er. The
should not be forced forward in the abdomen only, as this will create tensions and limit the work of the intercostal muscles, which are mostly responsibl
and expanding the lower ribs at inhalation in order to create more width within the thoracic cavity, (which in turn decreases the subglottic pressure).
This expansion of the lower ribs, and the use of the intercostal muscles during all breathing tasks will help the singer learn appoggio technique, whi
maintain that initial inspiratory position, with the diaphragm lowered for as long as is possible and comfortable, the sternum raised and the lower ribs
expanded for most of the sustained note or sung phrase in order to reduce the subglottic pressure. (With the chest cavity expanded and the diaphragm
position, there is more 'space' for the air molecules because the dimensions of the thoracic cavity have been increased both horizontally and vertically,
therefore less subglottic pressure.) This is applicable not only to singing, but to speaking, as well.
To raise the sternum (until it becomes easy and automatic), the singer can inhale as he raises his arms over his head, then slowly lower the arms as he ex
sure to keep the sternum in the same position. The Garcia position - laying flattened palms (facing outwards) on top of each other and resting them on the
lower back - is also useful for opening up the posture. This will raise the sternum, open up the ribs and keep the shoulders from rolling too far forward.
position is particularly helpful for students of voice who have poor general posture due to imbalance in the muscular strength between the back and abd
who experience di iculty maintaining a raised sternum while vocalizing.
It o en helps to place the fingers on the upper abdomen pointing toward the navel and the thumbs on the lower side ribs pointing toward the back,
breathe while standing in front of a mirror to ensure that the chest is remaining stable throughout the entire breath cycle. The lateral expansion doesn't
huge or exaggerated, especially when only a small amount of air is required for the upcoming vocal task.
Lying on the floor on one's back, with the knees bent and allowing the lower back to gently push into the floor while inhaling may also cue the singer to th
proper 'support' from the lower back muscles. Some teachers refer to this technique or sensation as 'breathing into the back'.
T H E FA R I N E L L I E X E R C I S E
Although there is evidence to suggest that this exercise had been used for a couple centuries before his time, the Farinelli exercise was named a er
castrato whose stage name was Farinelli (1705-1782). He achieved fame and favour amongst the royals of his day because of his exceptional vocal abilit
unmatched beauty of his soprano voice, and also became known as the 'silent breather' because he had mastered the art of the inspiratory hold (app
imperceptible partial breath renewals. With his body maintaining the posture that it had assumed at inhalation, rather than allowing the ribcage to collapse
all movement created by these tiny breaths went unnoticed to the untrained eye. (When appoggio is mastered, the singer or speaker is able to execute inc
partial breath renewals, which are like 'topping o ' or replenishing the air as one goes along when there is not enough time for a complete breath renewal,
needs a bit more air to get through the phrase, or until one can get to the next complete breath renewal. Partial breaths are particularly useful for when t
convenient spot in the song or speech, etc. to take in a breath, but one is still needed.)
The Farinelli exercise is still practiced today by many students of voice. (I, personally, have come to develop a great appreciation for this exercise over
teaching, as I have seen so many benefits from the daily practice of it in my own students.) It is used to help develop more strength of the 'support' muscu
prepares the singer for applying appoggio technique to his singing through developing the correct coordination. Through this exercise, the singer learns
breath flow better, using it more e iciently, and keeping the diaphragm in a lower position for longer during the breath cycle. This exercise helps the sin
gauge how much air he'll need for a given task so that you won't 'overfill' or 'overcrowd' your lungs. It also teaches how to relax and to avoid the urge to 'pa
feels as though there is not enough air. It's almost like yoga, in a sense, because the singer spends several minutes focusing on nothing else but paced, re
easy breathing. It o en changes how a singer thinks about the breath, and therefore how he treats or approaches it.
The Farinelli exercise divides the breath cycle into three phases, all equal in duration: 1) inspiration (inhalation) ; 2) suspension or retention of the air; and 3
(exhalation).
In the first phase, inhalation (to full capacity without 'overfilling' or 'overcrowding' the lungs) is steadily and evenly paced over a count of three seconds.
time these seconds using a clock or watch so that the pace is consistent from day to day and so that progress can accurately be tracked.) There should
displacement of the chest, and the movement of the body should be down in the 'lateral expansion' area.
In the second phase, the breath cycle is suspended for an equal count (three seconds initially), and the air is retained in the respiratory tract without being a
in by either the glottis or the mouth (nose). The air should not be held in by the mouth and nose and the glottis should not be closed o because this w
increase thepressure that the glottis feels acting upon it. With this 'breathing tube' completely open, air could come in or leave if there were muscles actin
diaphragm and drawing it further downwards or pushing it upwards. However, these muscles are 'on pause' during this phase. There should never be the
the air is filling up the spaces in the throat and causing tension or tightness there, either. If this sensation is present, the singer has taken in too much air.
In the third phase, exhalation is steadily and evenly paced over three seconds. The singer should not feel an urge to gasp for air at the end of the breath cycl
A er the first breath cycle, the singer would then immediately start pacing the next breath cycle, adding one second to each of the three phases. He would
lengthen the breath cycle like this each time until he has reached his maximum length (without feeling abdominal pressure, pressure in the neck or lighth
Many people find that six or seven seconds per phase - for a total of eighteen or twenty-one seconds for the entire breath cycle - is about all that they can do
Then in the subsequent breath cycles, the singer would slowly make his way back down to the initial count of three seconds per phase. Repeating this ex
times a day will develop the 'support' muscles - those inspiratory muscles that will help to maintain a lowered diaphragm - and retrain the singer to thin
about breathing (e.g., more relaxed and less 'panicked' or forceful).
O T H E R B R E AT H I N G E X E R C I S E S
To get the correct feeling of the air being held back in a healthy manner (i.e., not being compressed, squeezed or choked o by constricted throat muscles o
by a tightly closed glottis) through appoggio technique, the singer can try combining unvoiced sounds and voiced consonants and vowels. For example,
hiss (/s/) followed by a /z/-/o/-/z/-/s/ on a single breath and note. Each of these sounds should be executed for four steady beats. This particular exercise
demonstrating to the singer how small a stream of air is truly needed in order to create and sustain voice. The singer should also remember to maintain the
hold while performing this exercise.
A rapid 1-2-3-4-5-6-7-8-7-6-5-8-7-6-5-8-7-6-5-4-3-2-1 on a /z/ or /v/ sound is also helpful.
For more detailed information about correct breathing for singing, including the anatomy and physiology of breathing, please read the full article.
Q U E ST I O N S O R CO M M E N TS ? G E T I N TO U C H !
© 2008 - 2019. All rights reserved. Design: HTML5 UP
24/2/2019 Singwise - Singwise - Good Tone Production for Singing
SINGWISE
GOOD TONE PRODUCTION FOR SINGING (PAGE 2 OF 4)
M U TAT I O N A L C H I N K
The mutational chink is a medical term that describes a situation in which an oval opening is le between the vocal folds during the vibratory portion of th
is, when sound is being produced. (You may recall that I wrote earlier in this article that the folds, ideally, should open during inhalation but gently and ful
prior to phonation. The closing of the vocal folds creates a degree of resistance to the air that is exiting the lungs, and they begin to buzz in response to t
building up beneath them. This buzzing is the basic sound of the voice, before it is shaped by the vocal tract into specific speech sounds.)
In pre- and early adolescent girls, especially between the ages of 11 and 14, the mutational chink creates a breathy tone. Typically, the interarytenoid m
muscles between the arytenoid cartilage that are responsible for closing the gap, or 'mutational chink', that occurs between the arytenoids when the musc
of the glottis is closed) enable a singer to achieve a firm closure during the vibratory cycle. However, they develop more slowly than the arytenoi
themselves, leaving a gap. (The arytenoid cartilages, to which the vocal folds are attached, control the folds.)
Girls within this age group tend to have a very well developed chest register that can be carried up quite high, leaving only a small range of pitches in
register. If you were to listen to girls within this age group singing in musical theatre, as in the movie Annie, you would notice that they tend to sing mostly
natural) voice. This extended chest register in young girls is common because the vocal fold muscle, the thyroarytenoid, becomes quite developed while its
the cricothyroid muscle, which elongates and thins the vocal folds for high pitches, remains somewhat under-developed. With maturation, a lengthening o
register occurs.
Breathiness in female adolescent singers can be managed and improved with appropriate exercises, such as staccato. (Read 'The Attack' section belo
exercises to improve the e ectiveness of onsets and eliminate breathiness.) However, these muscles need to develop at their own pace, and should not b
work overly hard in young voices. During vocal training, onset exercises should be limited to a few minutes per lesson.
Typically, by the age of sixteen, the mutational chink is no longer a hindrance to clear, e icient tone in the female voice.
The term mutational chink also applies to the oval-shaped gap that is le between the vocal folds in order to produce a falsetto-type voice. In falsetto, the
blow apart, creating an oval orifice in the middle between the edges of the two folds through which a certain volume of air escapes continuously as long as
singing in the same register.
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=GoodToneProductionForSinging&page=2 1/8
Singers can produce falsetto in a variety of di erent ways, involving more or less of the vocal folds, and producing a tone with more or less breathiness
speakers and singers leave the cartilaginous portion of the glottis open (sometimes called mutational chink), and only the front two-thirds of the vocal ligam
the vibration. The resulting sound, which is typical of the sound produced by many adolescents, while pure and flutelike, is usually so and anemic in
mutational chink type of falsetto is considered ine icient and weak.
T H E 'AT TA C K ' ( O R O N S E T O F S O U N D )
The perfect attack describes a vocal situation or technique in which the vocal folds are allowed to gently and adequately come together a er inhalation an
to phonation. This 'sealing' of the vocal folds helps to ensure a clearer tone and more e icient airflow, as only enough air passes between the vocal folds -
stream - to set them vibrating and to create the desired tone, pitch and volume.
The firmer and more complete the approximation of the lips of the glottis - the combination of the vocal folds and the space in between the folds - the mor
they will o er to the air that escapes from the lungs, and the less air it will take to set the vocal folds vibrating. The slower the expiration, the longer the sou
Therefore, good vocal fold closure enables a singer to sing longer vocal phrases without having to renew his or her breath as frequently because the folds d
as much air. The quality of tone is able to ride on a minimal yet healthy stream of breath. The "compressed" sub-glottic breath allows the vocal folds to s
vibrating without forced breath pressure. (It should be noted that vocal fold closure serves only to strengthen the source of vibration. Tonal and breath
strictly functions that are controlled by the body support system.)
Some teachers may refer to this rapid and energetic approximation of the lips of the glottis an instant before expiration as the coup de glotte. The coup d
natural movement of the vocal organs, and is something that happens during speech as well as during singing, assuming that the vocal folds are functionin
and correctly. Singers need only prepare the mouth and glottis for the production of a vowel.
To 'attack' a tone, the breath must be decisively directed to a focal point on the hard palate, which lies under the critical point for each di erent tone. (T
many teachers refer to as 'placement'. Each vowel has a di erent focal point, as do varying pitches.) The breath strikes the top of the palate and sounds abo
elastic floor of the mouth (e.g., tongue, etc.). Pressure on this place should be minimalized, however, so that the overtones may be able to sound above a
tone.
The 'perfect attack', so named by the late master teacher Alan Lindquest (1891-1984), may be di icult to teach and to acquire because it elicits the invo
many support muscles that the student of voice is not accustomed to controlling intentionally. However, the elasticity of the vocal organs can indeed be
through vocal training.
In speech, the closing of the vocal folds is an intermittent action, as the opening of the glottis is quickly followed by its closing, or contraction. A good o
singing is more challenging, however, because of the length of the phonatory cycle, in which vowels are sustained for significantly longer than they are dur
The singer must learn to keep the glottis contracted and together a er its lips (the vocal folds) have been brought together. Once a note has been 'attacked
then needs to maintain the same closed glottal position.
The singer must learn not to close his or her throat in order to close the vocal folds. This problematic technique is o en referred to as a closed-throated te
high-larynxed singing. The singer needs to learn to structure the voice without producing excess laryngeal pressure. The body (fuel tank) must learn to stay
open without too much tension in order for the vocal folds to stay properly approximated.
A good attack or 'onset of sound' is desirable not only because it eliminates breathiness in the tone, but also because it creates an immediate access to he
tone and resonance. Balanced singing timbre is initiated and perpetuated throughout the entire phrase. When breath and resonation are coordinated ac
targeting and exactitude of spectral balance immediately occur. In other words, mastery of the onset of sound enables a singer to begin a pitch at the pe
and is essential to good sound production. Additionally, it allows the acoustical space in the throat to stay open, which enables the voice to begin vibrating
fashion. Problems with vibrato disappear quickly. Balance in registration can also begin to develop.
The perfect attack must not be confused with "glottic shock", which is a situation in which the vocal folds are held together with too much glottic pressu
approximation of the folds) and then pushed or forced apart with an explosion of breath pressure. This is very injurious to the vocal instrument, potentia
vocal fatigue, strain or damage, and encouraging the singer in an injurious technique of singing. A singer must always remember that the breath line is con
the body support system, not the glottis. If the breath is controlled correctly with the body, it is virtually impossible to use or produce glottic shock.
Simple exercises that enable the folds to approximate in a healthy manner can help students with vocal fold approximation problems learn to feel
mechanism at work. Speaking brief, energized expressions such as 'Every orange' or 'Ah ha!' with a hand placed gently on the larynx can accomplish this. It
helpful to speak single-consonant words at various pitches. I find that using staccato on simple three-note exercises or arpeggios elicits a clean and rapid v
establishing a dominant mode of vibration. Staccato exercises train the adductor-abductor muscles simultaneously with the tensor muscles during pitch ch
careful to listen for signs of pressed phonation, or a squeezing of the sound, at the beginning of the vowels. Ideally, the folds should be closed with the idea
pressure while the throat remains open in order to prevent this tight or squeezing sound from being produced.) I usually immediately follow up staccato ex
the same exercise in legato so that my students can attempt to reproduce the same tone as they do on the staccato exercises.
' S I N G I N G T H R O U G H T H E N O S E ' : T H E N A S A L LY V O I C E
A nasally kind of voice production is marked by the presence of too much nasality in the tone, which is o en more noticeable on high notes. The singer
whiny, or sing with a very strong twang.
Some singers with pronounced or evident nasally tones are Vanessa Hudgens, Sia, Gary Levox, lead singer of Rascal Flatts and Wesley Scantlin, lead singer o
Mudd. Nasally singing is stereotypical of country singers with a southern twang. This particular style of singing has also become increasingly popular among
hip-hop singers, both male and female, as these singers tend to employ this type of tone production in order to sing the type of embellishments and imp
that are characteristic of this genre. (Internally, it creates a feeling of greater control over the voice.)
Followers of the American Idol competition likely remember one airing of the show during its sixth season when contestant Chris Richardson declared, "
form of singing! I don't know if you knew that." in response to a critique by judge Simon Cowell, who had described Chris' voice as nasally and tin-y. I would
Chris Richardson's retort was not only a demonstration of his arrogance and unwillingness to accept constructive criticism, but also a reflection of
knowledge about good singing tone.
While hypernasality, also known as nasalance, may indeed be a tone with which some people intentionally sing, and although some listeners may even e
nasally voices, it is not generally considered to be a desirable tone, a pleasing sound or a valid nuance in singing. In fact, most people find it annoying and g
Nasally singers subconsciously create a tone that sounds good to them internally and that has a characteristic timbre of the sound that they believe that
be achieving. However, the sound that they hear inside their heads does not translate to the audience. They misinterpret the biofeedback that they re
singing because nasal sounds seem to produce more volume and more 'presence'. The listener, though, simply hears how restricted the vocal sound i
sound and imbalanced resonance is not rich and full, and it may take years to undo the tensions that are created by this vocal habit.
Beyond the subjective critique of nasally singing in which listeners find the vocal sound to be acoustically unappealing, there is nearly universal agreem
vocal teachers and vocal scientists about what makes for good, balanced, healthy speaking and singing tone. Apart from that which naturally occurs durin
intermittent nasal phonemes - the smallest contrastive structural units in the sound system of a language that distinguish meaning, though they carry n
content themselves in language - a nasally tone is considered to be a less acceptable and technically incorrect vocal element in most genres of music. It
singers to sing with poor technique and does nothing to expand, enhance or develop the voice. In fact, it severely limits the voice. Perhaps most importan
nasality is not a healthy approach to singing.
Nasality is a combination of several vocal issues working together to distort true vocal resonance. The voice's resonance needs to be balanced thro
resonating cavities of the body during singing in order for the voice to produce a warm, fully resonant tone. Closing o the voice in the nose not only pr
resonance, and thus less volume and a thinner tone, but it also limits a singer's range, particularly as he or she moves upward in pitch. Focusing one's reson
nasal cavity produces nearly the same 'closed o ' e ect as a head cold or nasal allergies.
Most o en, nasality is a result of a few factors, including a raised back of the tongue, a lowered so palate (or velum, or muscular palate, which is the
constituting the back of the roof of the mouth) and a forward jaw position.
First, a nasal sound is produced by raising the back of the tongue toward the so palate and lowering the so palate toward the tongue. During speaking or
velum is lowered only for the formation of nasal consonants. However, nasality will also occur in non-nasal vowels if closure of the velopharyngeal port (t
to the nasal chambers from the pharyngeal and oral cavities, lying between the velum and the walls of the pharynx) is lacking. This port can be closed by el
backing the velum, like a flap, until it approximates the posterior pharyngeal wall. Pharyngeal wall movement normally accompanies velopharyngeal closu
tighter seal at the port. The degree of constriction or closure of the velopharyngeal mechanism varies according to phonetic context from the low position
nasal vowels and consonants to the intermediate positions typical of low vowels to the more closed positions typical of high vowels to the highest positio
oral consonants.
Helpful in demonstrating the movement of the so palate for nasal and non-nasal sounds is the use of a hand mirror. (Wall mirrors are fine, too, if you ca
enough to see inside your mouth clearly.) If you were to say 'Ah' with your mouth opened enough to see the back of your mouth (e.g., the so palate an
pharyngeal wall), you would see that the uvula li s up and moves backward and the fauces also push back along with it. This action of the velum closes the
nasal cavity. Speaking a nasal vowel, as in the French 'in' or 'an', would involve little or no movement of the so palate. In fact, the velum remains lowered
allow the velopharyngeal port to remain open and sound to enter the nasal cavity. (It may be di icult to witness the lowering of the so palate on such n
because the middle of the tongue tends to move upward when forming them, obstructing the view of the back of the mouth.)
When nasal consonants are spoken or sung, the velopharyngeal port is open, permitting open resonation of the voiced air stream in the nasal cavity. At the
the oral cavity is closed o at some point, forcing the airflow through the nasal cavity. For example, for [m] production, the resonating cavity consists of the
cavity and the oral cavity occluded (shut o ) at the lips. For [n] production, it is closed by the tip of the tongue resting on the gums behind the upper fron
the body of the tongue against the upper teeth themselves. For [ng] production, the oral cavity is closed o by the back of the tongue and the raised so
order to pronounce the word 'hanger', which has a nasally sound, for instance, we need to lower the so palate and raise the back of the tongue.
Apart from these three sounds that require more resonance in the nasal cavity, almost all speech sounds in the English language are oral sounds. Th
entrance to the chamber of the nose must be closed o most of the time.
To understand a little better how the role of nasality in singing, try this demonstration. First, sing the vowel [a] at a comfortable pitch. While you are singi
gently pinch your nose, closing o the nostrils completely. Because the velopharyngeal port is closed during non-nasal sounds - that is, it should be closed
is not nasally - the air from your lungs filters out through your mouth rather than your nose. Your tone should change little, if at all, when you pinch your
singing a non-nasal vowel. Now, try humming, and then pinch your nostrils again. You will notice that the voice ceases to make sound. When you hum, you
an extended [m] sound or consonant. During nasal consonants, such as [m], the air from your body is filtered out through the nose. Occluding (closing) the
stop to the stream of air, and thus to the tone.
You may also wish to try singing the phoneme [ng], as in the word 'sung', for a few seconds. Without pause, sing a vowel. Try singing [ng-a-ng-a-ng-a] on the
During the nasal, the velopharyngeal port is open, allowing for the nasal sound of the [ng] to be created. However, the velum rises and closes o that
elimination of nasality as soon as the vowel appears. In this exercise, you should be able to feel an immediate velar shi ing from open to closed nasal por
that you sing the vowel.
Focusing the resonance of the voice in the nasal cavity during the singing of non-nasals works against the laws of articulation and vocal acoustics. Raising
the tongue decreases the amount of space available, cuts o the breath (e.g., nasally singers tend to lock the airflow with the back or root of their tongues)
it impossible to form vowels properly. Vowel distortion can be a huge problem in nasal singing because the tongue is not placed in the proper position
vowel sound to be produced. It is important to know how to form pure vowel sounds with an open throat.
Second, the pushing of too much breath pressure through the larynx (resulting in high-larynx singing or a closed throat) tends to contribute to a nasally
produces a tremendous amount of tension at the root of the tongue, which is usually accompanied by a forward jaw position.
The forward jaw position does not allow for the full adduction (closing) of the vocal folds. The air is then expelled chiefly through the nose. This thrusting
the jaw encourages a backward pull of the tongue. Without enough opening of the back of the throat, the voice is driven toward the nasal port. The forwa
the jaw creates a brighter sound inside the singer's internal hearing, which is a major factor in why singers assume this kind of jaw function. Instead, fo
production, the jaw should actually gently wrap back a er every consonant. (I will be discussing jaw position in greater detail in my upcoming article on S
An Open Throat: Vocal Tract Shaping.)
Registration shi s can't occur in a healthy manner if the throat is closed and the vocal sound is driven toward the point of nasality.
In some cases, too much nasality in the tone is the result of severe and chronic nasal allergies or nasal congestion. O entimes, treating the symptoms of a
congestion is su icient to improve tone, although sometimes singers with long-term allergy problems have developed compensatory vocal habits that
corrected. Usually, they have grown accustomed to hearing how their voices sound inside their heads when their nasal passages aren't clear, and it may
time getting used to how their voices resonate when there is no longer excess mucous and congestion obstructing resonance. (See the section on dealing
allergies in my article Caring For Your Voice.)
GOOD NASAL RESONANCE
It needs to be understood that the nasal cavity plays an important role in the production of a good vocal tone, and aids in the execution of certain sp
techniques. However, as I have already discussed, the nasal cavity can produce a less-than-pleasing overall tone when used inappropriately. There is, th
important distinction to be made between the squeezed or compressed nasally sound that can be heard in singers like Chris Richardson and authentic,
resonance, which is the true 'ring' in the voice that results from an open throat, or the three primary open pharyngeal chambers (naso-pharynx, oro-p
laryngeo-pharynx) and good support in breathing.
In order for sound to be able to filter through the nasal cavity, the tongue and so palate must be out of the way, rather than bunched up in the back of the
the three pharyngeal chambers need to be open. The singer also needs to have a small stream of air escaping through the nasal port and a sense of a susta
the voice. When healthy nasal resonance is achieved, the root of the tongue is released, making healthy vocal fold adduction possible.
When true resonance is achieved (beyond nasality), the singer can produce a pure legato line, and have greater volume, more control, smoother regis
complete vocal freedom.
Learning to sing without sounding overly nasally can be di icult for many students who have long been in the habit of singing in this manner. They need
'place' their tone so that it settles in the three resonating cavities of the vocal tract in a balanced manner, and get used to both the sensations and the soun
with more openness in the throat and balance in the tone. This retraining entails lessons in vocal posture, which will include an examination of jaw
positioning during singing. Some students may initially get the feeling that they have less control over their voices once their tone is freed from the
because their nasality has always given them a sense of better management and containing of the voice. They have come to trust in the comfortable se
seemingly stronger internal sound of nasality, but once the tone begins to enter the other cavities more, they feel as though they have less control over
because there is less space in the oropharynx when the velum hangs low, and more space when the velum rises to close o the velopharyngeal port, in
singers do come to feel a greater sense of openness when the velopharyngeal port is properly closed. These singers also come to experience this new o
vocal freedom, much like the comfortable phonation that they experience during speech.
A simple trick to check if you are 'singing through your nose' is to gently pinch your nostrils with your fingers, then sing non-nasal vowels and pitch c
Sustaining the same note, release the fingers. If the velopharyngeal port is properly closed during non-nasal vowels - that is, if your tone is not hypernasal
should change very little, if at all, when the nostrils are allowed to open again because sound is not actually emitted through the nose on non-nasal vowels.
your tone is nasally, you will find that your voice becomes noticeably thinner when your nostrils are occluded.
One tool for ridding the voice of nasality suggested by master teacher David L. Jones is to shape the hand flat, then place it laterally in the mouth and breat
This will stretch the so palate and, ideally, li it.
T H E ' T H R O AT Y ' T O N E
The throaty voice is characterized by too much pharyngeal resonance and/or excessive pharyngeal tension. This technique can produce a hollow sound
voice. I like to describe the sound produced by 'throaty singers', which seems to have become popular in recent years amongst certain pop, Gospel and R&B
something that you might hear from Kermit the Frog, Pee Wee Herman or the cartoon martian that Bugs Bunny encounters in space. Of course, these are
which pharyngeal tone production is extreme. David Archuleta from American Idol's seventh season is a more practical example of a singer with a 'th
production that is present both in his singing and in his speaking voice. In the chorus of Fly, the lead singer of Sugar Ray, Mark McGrath, demonstrates a
pronounced pharyngeal tone on the words "I" and "fly".
Some singers employ this technique of tone production because they are under the impression that it makes their voices sound 'bigger' and deeper. They te
whenever they want to 'belt' out a note or add a 'growl', falsely darkening the timbre of their vowels and tone.
Other singers produce a throaty tone in a misguided attempt to open the throat and increase resonating space. However, this extra space is o en crea
techniques such as mimicking the feeling or pharyngeal action of a yawn, which inevitably produces the hollow quality of tone with distorted resonance t
when one is attempting to talk while yawning.
In reality, though, their ability to produce volume is severely limited because they are not making full use of all of the resonating cavities in their bodies, w
the voice of its overtones. Essentially, the resonance from sound production during throaty singing is being pushed back into the so tissue of the upper
so palate). The fauces - the two pillars, (which include the so palate, the base of the tongue, and the palatine arches), that constitute the passage from
the mouth to the pharynx - tend to rise, separate and push back. The tip of the tongue separates from its ideal position behind the lower teeth, wh
accompanied by an unnatural spreading of the sides of the mouth and tension in the cheek muscles. This technique can lead to tension in the deep tong
since the tongue is being pushed back unnaturally in order to close o the throat and restrict airflow when a gru or growling sound is desired. Neck mus
particularly in the submandibular (below the jaw) region, is also common among singers who employ this kind of technique. Furthermore, with the to
pushed back, tension is o en placed on the larynx because the root of the tongue is closely connected to it.
Correcting this faulty technique entails not only educating a singer on the potentially damaging e ects of the pushed back tongue position and excessive
involvement, but also having the singer hear the hollow quality of tone that is produced when the tongue is pushed back and down when demonstrated b
else (e.g., the vocal instructor). O entimes, a singer need only hear how unpleasant the throaty tone is, and he or she is willing to make changes to his or h
to singing. Therefore, some exercises in correct tongue positioning (relaxed, with the tip of the tongue placed gently behind the lower teeth and the mid
back, of the tongue raising or lowering depending on the particular vowel being articulated) immediately improves tone and reduces tongue and neck tensi
I have taught a few students for whom the throaty quality of their voices has not been the result of intentional stylistic choice. These students struggle wit
pharyngeal quality in their voices only as they approach their passaggi. Their voices seem to deepen - likely because of the lowering of the base of the tong
depresses the larynx - and adopt a hollow, throaty character as a result of the pharyngeal spreading and the erroneous elongation of the resonator tube, b
few notes within their range. Usually, they have developed bad compensatory habits - resorting to altering the timbre of their voices - in an attempt to navig
changes with more smoothness and muscular control. However, there is not an evenness of timbre throughout the range. Once they pass their lower pas
pleasant, balanced quality of their voices returns.
For many singers, certain vowels, most typically the back vowels or open vowels, seem to make this throatiness more pronounced. The vowel sounds 'a
seem to present the most problems with this kind of pharyngeal spreading, and it is made even more noticeable within certain vowel combinations (e.g.,
from a front to a back vowel). Timbre falsification or altering is almost always successfully eliminated when improper tongue behaviour is addressed and co
P R E S S E D P H O N AT I O N : F O R C I N G O R P U S H I N G
I would be remiss if I did not include in this discussion on tone the poor vocal technique that leads to what is typically called pressed phonation,
hyperfunctional mode of phonation. Pressed phonation occurs quite commonly in speech, in brief instances, but is di icult to consciously control or
create during singing, which makes it somewhat challenging to correct.
Although pressed voices are easily identified by auditory impression, a clear definition or description based on acoustic features and the production mech
unclear. (As a result, many voice instructors with less experience fail to diagnose this problem in their students.) Generally, though, the pressed voice u
tense voice quality and is sometimes accompanied by vocal fry or harsh sounds. O entimes, at the beginning of a sung vowel, the singer's voice will soun
and tight, and then there is a sound of 'release' of this tightness once the vocal folds relax their resistance and begin vibrating more optimally. This is
described as 'grabbing at the onset.
In pressed phonation, airflow is too energetically resisted by the adducted vocal folds. In other words, the vocal folds are brought together with excessiv
muscular e ort, which makes it harder to set them vibrating. The folds then have an elongated closed phase in response to this high airflow and eleva
subglottic pressure, and a great deal of air pressure is needed to blow them apart. The result is a forced, 'shouty' quality to the voice that is very tiring for t
maintain. Besides demanding a strong e ort from the singer, pressed phonation is deleterious to the vocal organs.
In pressed phonation, the open phase of the vocal folds is also much shorter than the closed phase, representing irregularities in periodicity (vibrator
completely closed intervals of the vocal folds are predominant to (or much longer than) the open intervals, which creates the tight or pressed sound. Whe
used, the closure gesture of each vibratory cycle also lasts longer than it should, creating an uneven vibrato rate. In pressed phonation, an asymm
movements of the le and right folds can also be noted.
The peak amplitude of the flow pulses in pressed phonation is small - the spectrum of such a voice displays low amplitude of the fundamental freque
generates a relatively low level of sound pressure. Harmonic partials that lie beyond 2000 Hz become dominant and the first formant grows excessively
accompanied by a loss of overtones in the region of 3000 Hz, where the Singer's Formant is generated. The pressed voice, then, lacks the overtones necessa
a balanced, pleasant, rich tone.
Pressed phonation is typically associated with an elevated larynx position, (whereas the healthiest mode of phonation, free-flow phonation, is typically pro
a lower, relaxed larynx).
The popular technique of 'belting' relies heavily upon pressed phonation to give the belting voice its characteristically 'bigger' and brighter sound. A stud
by singing voice researcher Jo Estill revealed that, just as in pressed phonation, belters have a longer closed quotient phase than in any other type of phon
the folds so tightly closed for so long during the vibratory cycle, breath pressure builds up beneath the larynx, supplying the extra 'push' that is needed
increase pitch and volume. This amount of breath compression is far greater than that which is necessary in order to produce the voice. This excessive brea
along with the unnatural constrictions of the vocal tract that enable the belting voice to be produced, o entimes causes damage to the vocal folds, and m
find themselves unable to keep up with the demands of their performance schedules, canceling shows due to vocal strain, fatigue or injury. Belte
thyroarytenoid dominant vocal fold activity (responsible for chest voice) higher in the scale than non-belters, maximum muscular involvement of the torso
of the head and neck (in order to stabilize the larynx), a raised larynx, a narrower pharyngeal space, a lowered velum, as well as a flattened tongue and oth
vocal posturing. (I have written more about healthy postures of the entire vocal tract in Singing With An 'Open Throat': Vocal Tract Shaping.) Any kind of
lead to vocal deterioration.
Pressed phonation is most commonly seen in male singers as they approach and reach their upper-middle and high range, although many women who
higher notes and incorrectly navigate the upper parts of their range also have pressed tendencies. When singing pitches that lie above speech-inflection
fold closure is aggressive and subglottic pressure is increased. In attempting to su iciently energize the body to meet the demands of long phrases an
tessitura and intensity (volume) levels, some singers induce too much laryngeal resistance to airflow. In other words, singers will tend to resort to pressed
when they are singing in mid to upper range and are mistakenly substituting increased e ort for increased energy. A singer needs to find the proper balan
vocal freedom and energization. I remind my students with pressed phonation problems to allow the tone of their voices to ride on a minimal, steady stream
to use only enough breath energy and air to create a steady, balanced tone for the duration of the sung phrase. This o en helps these singers to abandon th
'over supporting' their tone, or feeling as though they need to use a lot of breath in order to sing in the upper registers.
Faulty breath coordination is a major cause of pressed phonation. Unfortunately, many vocal instructors o er misguided solutions when striving to elimin
phonation in their students. Many teachers encourage their students to either insert an imaginary or real "h" at the beginning of phrases or to conscious
higher airflow levels (e.g., breathiness, sighing or yawning) as a means of alleviating or eliminating pressed phonation. However, these are not the best ap
take when dealing with pressed phonation. These are merely compensatory solutions that may end up producing problematic side e ects, as one bad tec
pressed phonation) is merely being replaced with another (i.e., breathy phonation). These techniques only o er temporary relief of the pressure at the voc
without ultimately curing the problem.
Many contemporary singers already habitually insert "h's" before all vowels when they sing, either as an intentional stylistic choice or as an unconscious o
response to incorrect technique (usually to alleviate the mounting vocal fold and muscular tension that they would otherwise feel as they are forcing
because of an overly firm glottal closure). The inserted aspirant "h" allows easier production at the climactic (higher) notes of a phrase, but it can easil
crutch for singers. The letter "h" is an unvoiced consonant - an aspirated sound - meaning that the glottis remains open during its production and the
vibrate or produce sound because the sound is produced by the exiting pu of breath alone, which in turn introduces more air into the tone. As a resu
between the slightly parted vocal folds at the onset of the phrase, just when e ective breath management is needed the most. Instead of substitut
phonation for the proper balance between airflow and laryngeal response, it would be preferable to learn how to achieve ideal vocal fold approximation
discipline of the precise onset (the 'attack' and the release. In other words, instead of inserting an "h" or introducing breathiness into the tone, the pro
pressed phonation is to learn how to correlate breath emission and vocal tract filtering of the laryngeally generated sound.
Another technique to help alleviate forced phonation in males is to use falsetto exercises. In falsetto production, the vocal folds are not fully occluded (c
resistance to airflow is slackened a little. Nevertheless, in falsetto, the vocal fold elongation necessary for pitch elevation still takes place. Temporar
substitution of falsetto timbre that is followed immediately by legitimate full voice timbre may be a useful practice device because a lighter onset is pro
closure mechanism therefore avoids over activation, and more appropriately matches the degree of vocal fold stretching. These exercises can be attempted
note, beginning in falsetto, then moving immediately to legitimate full (head) voice without pause. For example, singing a five-note descending scale, a mal
begin in falsetto timbre at the top note and gradually shi into full voice by the last (bottom) note of the scale.
Yet another corrective technique for addressing pressed phonation is having the student speak short phrases with short syllables, such as 'Ah ha!' and 'Oh
sing the same expressions in a corresponding range with comparable intensity. This will help the singer to become aware of the sound and the feel of free
occurs in the energized singing voice in contrast to the tension inherent in manufactured, pressed, sung phonation. (There should be no greater sensation i
during singing than in clear, energized speech.) However, if the singer also tends to speak with an overly pressed voice, this exercise will not benefit him or
not help to correct the problem.
As mentioned in the first paragraph of this section, pressed phonation is quite common during speaking tasks. However it is not as recognizable (noticeab
the open phase of the glottis is significantly shorter during speech than it is during singing. Every vowel must start out with the feeling of openness in the
every singer must learn to encourage this openness at the beginning of each sung vowel. A particularly useful technique for ridding the voice of the t
squeezed sound associated with pressed phonation is encouraging such openness in the throat before the tone is brought into focus. The singer can imagin
the neutral 'uh' vowel in the throat before shaping the desired vowel with the articulators (jaw, tongue, lips, etc.). This will open the pharynx before the ton
at the laryngeal level. Practicing singing only vowels - without consonants preceding them - is a good idea until pressed phonation tendencies are eli
consonants will sometimes make the squeezed sound less obvious or mask the signs of pressed phonation.
Page 1 Page 3 Page 4
SINGWISE
W H AT I S G O O D T O N E ?
Ideal tone is balanced (between all the resonating cavities of the vocal tract), free flowing (free from tension and constrictions), resonant (with all th
present and a 'ring'), pure (the timbre is not made to be something that it isn't naturally), and supported (by good, steady breath pressure). It is characteriz
vowel definition and a balancing of qualities o en referred to as 'focus', 'ring', 'ping', 'placement', 'depth', 'roundness' and 'warmth' to produce a compl
which all appropriate resonance factors are present in the singing voice.
When freedom of breath application, unhampered laryngeal response, and resonator configurations are in accord with each other, desirable tonal balances
combination of ideal characteristics is what defines flow phonation.)
Although we do not hear our voices as others hear them, most singers are capable of di erentiating among sounds and thus analyzing the quality of thei
tone. Sensation associated with the chiaroscuro tonal balance is identifiable, repeatable, and above all, freedom-inducing. Hearing and seeing the ideal to
a reliable means of self-monitoring, and the student's goal should be to develop an awareness of his or her own body. The student of voice needs to consid
voice sounds, how it feels and how it looks (e.g., vocal posture, such as position of the jaw and tongue, alignment of the head over the shoulders, etc. wh
mirror).
All singers are individuals. Therefore the sensations that one singer might experience during singing may not be felt in the same manner by another singer
will o en describe to my students what I feel as I'm singing, I always make sure that they understand that they may not feel the exact same sensations
areas of their bodies, nor describe them in the same manner as I do. Technical complications could arise within my students if they strive to achieve the sen
I do.
Learning to recognize the new sensations experienced during well balanced singing ideally leads to a replacement of previous faulty perceptions. Sometim
need a little extra help in learning to recognize when they are singing with good, balanced tone. I will o en have my students sing individual notes thro
chromatic scale and have them attempt to alter their focus or placement - this usually involves making conscious and deliberate adjustments of the
allowing the tone to become more nasally, then more breathy, then more centered - until I hear a resonant 'ring' in their voices. I will then draw the student
to their vocal quality at that point, and have them make a mental note of both the sensations and the sound experienced when their tone is good.
Generally, a er students achieve and identify a tone with ideal resonance balance, I will ask them to describe the sensations, including the locations at
occur. Describing these sensations in their own words helps them to memorize where and how sensations are felt. They then gain an e ective self-monitori
that will later help them to repeat the same methods for creating the same, ideal balanced tone. In time, the students learn to both recognize and rep
balanced tone immediately at the onset of sound, without having to make adjustments mid-way.
The results of correct, healthy tone production (and correct and e ective use of the resonating cavities of the body) include a more pleasant sound
extended range, especially in the higher end, better control of breath and thus more vocal stamina (e.g., the ability to sustain notes for longer and sing lon
without the need for breath renewal), increased volume due to improved resonation, smoother vocal registration, improved vibrancy (o en accompanied
shimmering naturally occurring vibrato), more physical comfort, and a healthier vocal apparatus due to less stress and strain.
F L O W P H O N AT I O N
The most desirable regime for singers involves singing with a flow phonation, (sometimes called free-flow phonation), which enables them to generate th
sound without risk of damaging the voice. Flow phonation refers to appropriate levels of airflow - breath is never consciously held back at the laryngeal lev
folds o er su icient resistance to the exiting breath, etc. - that match the requirements of the task at hand. For example, degrees of breath energ
continuously during singing as the demands and dynamics of a song may change from section to section, yet the goal of the singer is to maintain 'freedom'
at all times.
Flow phonation describes the process that permits the chiaroscuro tone. In addition, it is characterized by a high level of upper partials in the voice sourc
These upper partials contribute to the voice's overall quality. Without them, the voice sounds almost one-dimensional and dull (or shrill, depending on the
In the case of flow phonation, for which a relatively low sub-glottal pressure is combined with a strong flow pulse and a high overall energy level, the maxim
can be transferred to the voice. Flow phonation is characterized by a shorter closed quotient (a measure of the amount of times that the vocal folds are to
proportion of the entire open/closing cycle) than pressed phonation, but it is longer than the closed quotient typical of breathy phonation. Flow phonation
a higher fundamental frequency amplitude in the voice source spectrum than pressed phonation.
TIMBRE
Vocal timbre refers to the quality or colour of tone being produced by a singer. O en qualities of timbre are described by analogy to colour or texture (e.g. b
rough, smooth, etc.). Describing a voice as 'warm' or 'shrill', for instance, would also be making a statement about that particular voice's timbre.
Vocal timbre can be e ected or influenced by numerous factors. What the ear perceives as colour or quality is really a Gestalt impression of the voice that is
the entire sound, and seldom as a function of its analytic or separate components (all the properties of tone). The physical characteristics of sound tha
create the perception of timbre include spectrum (the richness of the sound or tone, sometimes described in terms of a sum of a number of distinct freq
overtones and envelope (the overall amplitude structure of a sound, which includes attack time, decay, sustain, release, transients, etc.).
Vocal timbre is part of what makes some voices suitable for soloing or lead singing and other voices more suited to singing in groups or choirs, while still o
are more suited to shower stalls.
Chiaroscuro timbre is a voice-pedagogy term that is used universally to refer to the balancing of the light or clear (chiaro) and dark (oscuro) aspects o
balancing tonal brilliance and depth of the resonance. In vocalism, it specifically refers to the equilibrium of acoustic strength manifested by an ideal dis
lower and upper harmonic partials (overtones), clustered in formants. Specific balances among the formants are characteristic of the resonant voice
singers, regardless of vocal category. That is to say, the chiaroscuro timbre of the classic international school demands balance among the prominent areas
strength, the fundamental and the first, third, fourth, and fi h formants. (This balance has been confirmed by spectrographic analysis.)
Every vocal instrument has its own individual quality, but all timbres must adhere to the chiaroscuro principle. Good singers are able to avoid 'noise' eleme
non-integers of the fundamental frequency. Acceptable timbre will display predictable relationships between the first, second, third, fourth and fi h forma
by-noises. (Please read the article on Vocal Tract Shaping for more information on how to adjust the formants of the voice in order to achieve better tone.)
The nature of the vocal instrument itself does not need to be altered to produce advantageous harmonic integration. False manipulation of a voice to eith
or diminish the balance between breath application, laryngeal response, and resonator configurations will not produce a commendable outcome. Instead
of the tone will be diminished.
FO R M A N TS
The term formant refers to peaks in the harmonic spectrum of a complex sound, such as the human voice, that is produced by some sort of resonance.
acoustic strength results from the cumulative distribution of upper harmonic partials, which are also known as harmonics (integer or whole number mult
fundamental frequency of a tone - the lowest frequency of a complex sound, which corresponds to the unique pitch heard in such a complex tone) or overt
Partials that are not multiples of the fundamental frequency produce what is called noise in the singing voice.
Formant regions are not directly related to the pitch of the fundamental frequency and may remain more or less constant even as the fundamental cha
fundamental is well below or low in the formant range, the quality of the sound is rich. However, if the fundamental is above the formant regions the sound
o en shrill in quality and, in the case of vowels, may make them impossible to produce accurately. (This is part of the reason why singers o en seem to
diction, or their vowels are indistinguishable, on very high notes.)
Formants are essential components in the intelligibility of speech (e.g., di erent sustained vowel sounds are distinguishable because of the di erences
three formant frequencies). In other words, formants define, or help us to distinguish between, vowels. Producing di erent vowel sounds amounts to 'retu
formants (by shaping the vocal tract in specific ways) within a general range of frequencies. If, as the mouth opens naturally with rising pitch and am
integrity of the vowel is retained, the first formant will grow in strength and there will be no loss of upper harmonic partials ('ring'). Resonance balance
throughout the scale.
Formant frequencies are determined largely by the shape of the vocal tract (the cavity where the sound that is produced at the sound source - the larynx
which is able to produce a highly variable structure of overtones. For instance, opening the jaw, which constricts the vocal tract toward the glottal end and
toward the lip end, is the deciding factor for the first formant. This formant frequency rises as the jaw is opens wider. The second formant is most sensitive t
of the body of the tongue, and the third formant is most sensitive to the tip of the tongue. Therefore, as the tongue shape changes to produce a di eren
formant frequencies will also change.
Swedish physician and medical researcher in the area of human physiology, Johan Sundberg, identified an extra formant in the range of 2500 to
concentration of intense acoustic energy, between the third and fourth formants - which he called the Singer's Formant - that is present in the frequency s
trained singers but absent in speech and in the spectra of untrained singers. Developed through vocal training and created by the special resonance of the
when the larynx is lowered, the Singer's Formant produces the 'ring of the voice' that enables a singer's voice to be heard and understood over an orc
classically trained singer strives to develop a Singer's Formant that enhances the overall richness and ringing in his or her voice.
The Singer's Formant ideally consists of strong third, fourth and fi h formants. It is produced by the frequencies of the third, fourth and fi h formants of
voice moving so close to each other that the resulting cluster appears as a prominent, consolidated region in the frequency spectrum of the voice. Th
strength of the Singer's Formant depends on voice category, being somewhat weaker in basses than in tenors, and altogether questionable in sopranos. (
intensity of a soprano Singer's Formant is lower than those of other voice types. Additionally, it has a di erent shape, being higher and wider as compare
the alto, and is split into two peaks - one in the range of 2.5-3.5 kHz and another between 3.3 and 4.3 kHz. It is unclear as to whether each peak contains o
formant, as in an untrained singer's voice, or whether one of the peaks contains two formants, which would indicate the presence of a Singer's Formant.)
The articulatory way to achieve the Singer's Formant lies through dilation of the pharyngeal opening so that it becomes wider than the tracheal opening. T
if a dilated pharynx is combined with a low laryngeal position.
A lot of contemporary singers believe that they don't really need to know anything about formants. The science seems too complicated, and they are
impression that the information will help them little in their singing. They would rather have their teachers use di erent, more seemingly practical me
giving illusory descriptions of acoustic events) for explaining chiaroscuro balance in the singing voice. Although scientifically based, the concept of form
learned by anyone of average intelligence. It may not be necessary to memorize the frequencies of pitches (numerical values) and the specific harmonic
each vowel, but it is beneficial to the student of voice to be equipped with a basic understanding of what formants are and how they a ect overall tone. On
important reason for studying formants is to gain a better understanding of, and thus be able to take advantage of, the relationship between articulatio
tract resonance. Information will enhance, not detract from, learning.
(I will explain the relationship of vowel formation to formants a little more in-depth in my upcoming article on Singing With An Open Throat: Vocal Tract S
article Anatomy of the Voice on this site has additional information about formants, as well.)
V O C A L R E S O N AT I O N
Vocal resonation is the process by which the basic product of phonation - voiced sound, which is the buzzing sound produced by the vibrations of the vo
enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Resonance, therefore, is voiced so
amplified and modified by the vocal tract resonators (the throat, mouth cavity, and nasal passages), and is the result of an acoustic alliance between vibra
at an identical fundamental pitch.
The strength of tone must be gained not only by good, steady breath pressure (see The Role of Breathing in Tone Production below) but also by the focal p
palate, by the complete utilization of the palatal resonance. In other words, tone quality is determined or enhanced by the way in which a singer uses his
resonance. The end result of resonation is, or should be, to make a better sound. Therefore, a key factor in achieving good, balanced tone is maste
resonance. Every singer needs to train the voice to distribute the sound into the three cavities in a balanced manner.
Singing involves the utilization of more of the supraglottic (above the glottis) spaces for resonance than does speaking, and the vowels are prolonged.
speaking and singing are almost identical.
Resonance can be either sympathetic or forced. The sounds of singing are the result of sympathetic resonance. This sympathetic vibration is not to be co
resonance, which is restricted to the vocal tract - the open chambers, not the bony structures - conjoined with the nasal cavities only for nasal phonemes.) F
the cartilaginous external nose, as well as the bony structures of the skull (sinuses, cheeks, foreheads, occipital bones, etc.), can be set into sympathetic
bone is a remarkable conveyor of sympathetic vibration - but not into actual resonance because they are not resonators; they do not contribute to the co
that the listener hears and cannot contribute to the actual resonance of the voice. However, the resonator filtering of laryngeal tone includes only the ar
open cavities.
For example, although a misnomer, chest voice is named such because many singers feel a sensation of resonance in the chest cavity. In this case, s
vibration is conveyed by bony and cartilaginous parts of the sternum and rib cage. Of course, it is not resonance itself that is felt in the face or head.
sympathetic vibrations that are felt, since the bones of the face conduct the vibrations of sound bouncing o the hard surfaces.
This does not preclude the fact that singers o en feel sympathetic vibratory responses in one or more areas of the body. Indeed, the sensations that are p
sympathetic vibrations are realistic to the singer, and they may become reliable indicators of resonance balance. However, the registering of sympathetic v
the perception of resonance, is highly individual and can be experienced only personally. Sympathetic vibration during singing varies greatly from person
Therefore, to expect everyone to experience the same sensations while singing is both unrealistic and unwise.
Placement of the voice generally describes both how the vibration of the air column interacts with the resonating structures of the body to accentuate or d
size of the formant and where one feels the augmented vibration due to the change in the relationship of the formants to areas of the body. For m
placement is used to describe where they feel the sympathetic vibrations most. For example, head voice is so-named because most of the resonance is
bony surfaces of the face or head. (Some techniques refer to this area as the 'mask', or 'masque'.)
Much of what singers may describe as placement is really sympathetic vibration. The sensations associated with sympathetic vibration help the performer
sounds of singing. When the spectral balance is complete, a singer is aware of sensations in the bony structures of the head, throat or chest that are quite di
those of imbalanced phonation. Once an association with ideal sound has been established, these proprioceptive sensations become dependable indicat
balance.
For some singers, the notion of placement suggests that they can direct the resonance of their voices. However tone, which originates in the larynx, can't
placed, so attempts at placing the voice or inducing sensations in specific parts of the body are generally considered to be futile.
One example of placement lingo is the concept of 'forwardness', which denotes the idea of keeping the tone placed in the front of the face, or 'singing
mask', or imagining the voice as a line in front of the face. Some teachers avoid talking about placement or forwardness of tone because they are subjective
don't take into consideration the individual experiences and sensations associated with singing. These same instructors may also fear that their students w
much on producing the buzz of resonance and, in turn, induce tensions.
Furthermore, teaching the concept of forwardness may also be somewhat counterproductive, if not dangerous, because certain forms of sympathetic vibr
the mask are actually the product of undesirable timbres. Hypernasality, for example, may produce a great deal of sensation in the nasal cavity, b
representative of good, balanced tone. Being instructed to place tone may exacerbate existing technical problems, if not create new ones.
Rather than speaking of placement, it may be preferable to make certain that buccopharyngeal resonator shapes properly match laryngeal configuration
discussing how to balanced tone in more detail in the upcoming companion to this article entitled Singing with An Open Throat: Vocal Tract Shaping.) How
that talking about the notion of forward placement can be a useful imagery tool for some, more 'visual' students - as it was for me in my vocal training - so
are equipped with correct information about acoustical science.
A er experiencing the presence of sympathetic vibration that results from e icient resonance balancing, students can develop their own imagery o
terminology that can then be utilized and reinforced by the teacher during their private lessons. The goal in studying voice, ultimately, is to learn to prod
resonance balance, and each student may take a di erent path to finding his or her ideal tone.
(For more detail about resonance, read my article on the Anatomy of the Voice.)
' P R OJ E C T I O N '
There are some voice instructors, musical theatre professors and choir directors who teach the concept of 'projection' as a means of increasing volume
voice may be heard better by an audience.
This philosophy that the voice needs to be 'projected' can lead to bad technique, however, as it tends to conjure up mental images (i.e., throwing the v
people in the back row, etc.) that are followed by vocal habits (e.g., opening up the mouth excessively, like a 'horn', etc.) that aren't usually very heal
psychologically nor physically. Even if supported by diaphragmatic breathing, this technique can be injurious to the vocal instrument. While it is true that
sound created by the vocal folds needs to resonate e ectively o the hard surfaces of the vocal tract, be shaped, and then escape through the mouth, th
having to project the voice tends to lead to vocal health problems including tension, strain and injury, as well as a diminished air supply (and thus les
because an excessive amount of air is being forcibly pushed out of the lungs and past the vocal folds.
When singers are told to project, they o en feel the need to shout in order to make their voices sound louder. However, shouting, or actively increasing volu
natural, comfortable levels, does not necessarily create more carrying power, as natural resonance is o en lost. In fact, pushing merely distorts resonance.
the correct shaping of the vocal tract in order to maximize resonating space and increase the strength of the vocal formants that makes the voice more
theatre or concert hall. Articulation and diction (enunciation) play a key role in creating more e ective resonation because they ensure that idea
configurations of the vocal tract are assumed. (I will be discussing vocal tract shaping in more depth in an upcoming follow-up to this article entitled Sing
Open Throat: Vocal Tract Shaping.)
Instead of thinking in terms of getting more sound out, or making the voice louder by increasing volume, a singer should focus on achieving a balanced, fu
tone, which will carry itself without the need for pushing or shouting. When resonance is ideal, the voice will be heard, and it will be healthy.
It is my belief that it would be in the best interest of vocal students everywhere for teachers and directors to remove the term 'projection' altogethe
vocabulary.
WHY OUR VOICES ALL SOUND DIFFERENT
Everyone singer has a natural, unique sound, although some voices are more distinctive than others (e.g., Alanis Morrissette, Amy Whinehouse, Michael Ja
Some singers have unmistakable qualities in their voices, such as 'richness', 'warmth', 'depth', 'relaxedness', 'maturity', 'bluesy-ness', 'thickness', 'sultrine
make them instantly recognizable to the listener and set them apart from the crowd, or the rest of the choir at the very least.
Although we can e ect some change on our natural timbre, doing so comes with both the possibility of creating an imbalanced, worsened tone and
potential harm to the vocal apparatus through the development of bad technique and unhealthy habits. Our voices seem to be better and more natural
specific sounds and timbres. Some voices are ideal for opera, while others are able to produce a grungy, heavy rock sound, for instance. (You can read
types, vocal classifications and vocal weights in the Glossary article on this site. The definitions listed there provide further information about the di eren
qualities of voices that are common amongst singers.)
Our speaking and singing voices are created from the same anatomical structures. The respiratory system (lungs, diaphragm and abdominal muscles
mechanism (vocal folds, laryngeal cartilages, muscles and nerves) and the supraglottic tract (the spaces above the vocal folds, including the back of the thr
nasal passages and sinus cavities) all work to produce our vocal sounds. (Please read Anatomy of the Voice for an overview of these anatomical structures
produce our voices. I will be including more detail about the anatomy of the vocal tract in my upcoming article about the open throat.) In general, voice cha
are determined by the interactions of breathing mechanisms, the vibrating vocal folds and resonances of the vocal tract.
As mentioned above in Vocal Resonation, the human voice utilizes three resonant cavities to aid in the production of desired frequencies: the larynx, the
the nasal cavity. The di erent sizes and shapes of these cavities produce distinctive tonal qualities. There are few reasons why every singing voice sound
which includes the size of the vocal tract (larynx, pharynx, mouth, etc.), as well as other parts of the body, articulation (manipulation of the vocal tract a
tracking) and use of resonance.
One deciding factor in how di erent voices sound is the fact that our vocal tracts (the distance from the larynx to the lips) have varying lengths, although th
which is about four inches. Before puberty, the average speaking pitch and size of the larynx are about the same for both males and females. The lengt
corresponding mass increase of the larynx that is brought on by puberty reduces normal average speaking pitches - the fundamental frequency of the voi
related to the perception of the pitch of the voice.
Men, generally speaking, have larger vocal tracts, which essentially gives the voice a lower tonal quality, independent of the vocal folds themselves. The fem
typically will appear to have a little more space between the arytenoids than the male's larynx does. This is thought to be primarily an anatomical di
secondarily a cultural di erence. This glottal shaping helps to give the female voice a typically so er quality due to the corresponding airflow through the la
Men and women have di erent vocal folds sizes; adult male voices usually have longer folds with more mass. The di erence in vocal folds size betwee
women means that they have di erently pitched voices. Laryngeal size and structure play a significant role in determining a singer's range. The greater the
the vibrating mass of the vocal folds, the lower the fundamental frequency (the lowest frequency in a harmonic series) of pitch.
In addition to these gender di erences, genetics creates variances amongst the same sexes - di erent singers will have di erent ranges and tessituras - w
voices being categorized into types. The singing voice is partly categorized by the range of fundamental frequencies that the person can sing in performanc
by the quality, agility, and how big a sound that particular voice can produce, referred to as vocal weight. The size and shape of a singer's vocal tract will a
the singer's range but also his or her registration change points.
The resonance frequencies of the vocal tract tend to emphasize a series of frequencies that relate to the vocal tract size and shape. The vocal tract is not a s
Rather, it is a tube of varying sizes and shapes, and is highly adjustable. For this reason, it tends to emphasize some overtones of the phonated sou
emphasize others.
The sound of each individual's voice is entirely unique not only because of the actual shape and size of an individual's vocal folds and larynx, but also due
and shape of the rest of that person's body. Humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be tr
varying pressures. The shape of chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of th
results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within di erent parts of the body, and an individual's siz
structure can a ect the sound produced by an individual.
Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation.
Another major influence on vocal sound and production is the function of the larynx, which people can manipulate in di erent ways to produce di er
These di erent kinds of laryngeal functions are described as di erent kinds of vocal registers and phonatory modes.
In addition to these natural deviations listed above (i.e., the size and shape of the individual's vocal tract and body), how singers pronounce their words ha
with the uniqueness of their singing. How the vocal tract articulators (the tongue, so palate, jaw and lips, all of which work together to produce recogniz
modify the voiced sound that is created by the vocal folds is an important part of achieving balanced vocal timbre. The adjusting of the articulators
frequencies of the vocal tract resonances (formants), and thus how a listener hears vowels, as well as the overall tone of the voice. My upcoming article, Sing
Open Throat: Vocal Tract Shaping will provide specific information on correct usage of the articulators in order to maximize resonance and balance tone.
SINGWISE
BLENDING THE REGISTERS
In singing, blending may refer to two areas of study: blending the registers (eliminating 'breaks' in the voice that tend to occur between registers) and ble
and head resonances (to produce a 'mixed' or blended tone that is characteristic of the middle register). I'll attempt to address both concepts here.
To begin a discussion about blending (also known as 'bridging') the registers, it is important to define the term register. A vocal register in the huma
particular series of tones, produced in the same vibratory pattern of the vocal folds, and possessing the same quality. Registers originate in laryngeal fu
larynx, where the vocal folds are housed. They occur because the vocal folds produce several di erent vibratory patterns. Each of these vibratory patte
within a particular range of pitches and produces certain characteristic sounds or qualities. The term register can be somewhat confusing, as it encompa
aspects of the human voice, and can be used to refer to any of the following: a particular part of the vocal range, (such as the upper, middle, or lower
resonance area (such as chest voice or head voice), a phonatory process or a certain vocal timbre.
In order to move smoothly up or down in pitch between the chest, middle and head voice registers (or between any two adjacent registers), the registers m
they don't, noticeable voice breaks, or register breaks, will occur. When a register break occurs, the tone of the voice will o en suddenly become wea
lacking in intensity and volume, and pitch changes will sound abrupt. Sometimes the voice will crack, or there may even be a momentary cessation of so
problem spots in a singer's range are believed to be caused by mal-coordination of the laryngeal mechanism - or static laryngeal adjustment, in which the
fail to make necessary changes as the next set of pitches (or register) approaches. These changes to the folds and the laryngeal muscles need to happe
rather than suddenly, and need to be accompanied by an adjustment of breath energy.
When a singer is moving from one register to another, the goal is to have an evenness of tone so that there is no perceptible "break" or shi ing between t
Ideally, the singer's voice shouldn't sound like an entirely di erent voice when a di erent register has been entered. Achieving smoothness and a consiste
throughout the scale demands a knowledgeable teacher who can instruct the student in how to e ectively adjust the mechanism of registration. The
knows how to coordinate the registers in such a way that there is a smooth, imperceptible transition from one register to another.
To blend these registers, a singer needs to slightly close the two last notes of the lower register when ascending in pitch and slightly open them when de
pitch. If too much power or volume is put into singing the highest notes of the lower register, it will become more di icult to develop the power, volume and
fullness of tone in the lower notes in the next (higher) register. Essentially, singers must rein in their voices a little just before attempting to shi into the nex
they don't have control, they will find a large di erence in tone quality when they switch into their head voice, and this poorer quality usually sounds thin, w
and breathy.
Many vocal registration problems are really problems of resonance adjustment. The treatment of vowels has a strong e ect on the transitions from registe
(I delve more deeply into this issue in Part Two of this article entitled Singing with An 'Open Throat': Vocal Tract Shaping .) Vowel modification, in which
'narrowed' or 'darkened' just prior to the point where the voice would naturally flip into the next register, is necessary, and is a part of the closing a
processes that need to happen when ascending and descending in pitch, respectively. When transitioning up to the head voice register, if a 'rounding' of
does not happen, the singer will be pulling up too much weight (thicker vocal cord mass) into the higher register. It should be noted that the darkening of
should only be done by increasing the acoustical space, not by pulling down the so palate or the back of the tongue, as these latter techniques lead to in
and diminish the upper overtones.
Achieving mastery of the head register involves opening the closed vowels and closing the open ones. For example, as the [i] is carried higher and higher
taper toward a short 'i', as in the word 'it', and then continue to change subtly as the scale ascends. Some instructors make use of vowel modification ch
their students understand how each vowel should change within the head register. However, I find that most singers can make the correct modification
understand that the changes need to occur, and that they can't maintain the same vowel sound in their head register as they do when singing at speech-le
Letting go of their previous notions about how their voices should sound in head voice and hearing their instructor demonstrate the gradual modificatio
usually enough to help them access head voice.
When a singer fails to modify the vowel, a register break is likely to occur, and clear, free tone in head voice becomes impossible. Whenever my stu
di iculties transitioning into full head voice, it is most o en a problem with failure to allow the vowel to modify. The students o en attempt in vain to m
same distinctive vowel sound and feel in head register as they do in their speech-inflection range. The vowel then spreads and breathiness occurs, or the la
to rise in an unhealthy manner and phonation becomes tight or squeezed in both sound and feel. Pitch inevitably begins to go flat, and the singer begins to
at the laryngeal level. Allowing the vowel to 'narrow' and the jaw to lower slightly usually produces an almost instant correction of the registration prob
laryngeal muscles and the vocal folds are allowed to make their natural adjustments.
One approach to helping singers access the head voice range when attempts at modifying the vowel are not successful is the use of healthy nasality, usua
sound. (The addition of some subtle nasality also works for the very bottom of a singer's range when a vocal fry quality starts to enter the voice because
voice from slipping back into the throat and creating discomfort and strain. With the sound placed just slightly in the nose, a pleasant tone can be produce
is less likely for the vowel to spread.) Once the singer can successfully and consistently bridge into the head register, the tone will even out and become bala
With my students, I emphasize the importance of anticipating these pivotal registration points so that they can begin making the necessary muscular, br
and vowel adjustments a couple notes before the voice would naturally shi into the next register. These registration activity points may di er slightly fro
singer, depending on their ranges and voice types, and with di erent vowels for the same singers. Anticipating the register changes allows the necessary m
to take place in advance of the break point, which in turn produces a blended or mixed voice that is, both functionally and tonally, a cross between th
mechanisms and tonal qualities of the two abutting registers. The end result of anticipating the register changes is seamless, healthy transitions betwee
created by an evenness of tone throughout the range. (It sometimes helps to think of the voice as one continuous or linear mechanism or tone rather tha
separate registers that must be linked together.)
Accessing the head register poses particular problems for many untrained singers, and a great deal of those problems occur because of a failure to anticipat
adjustments to occur naturally and gradually. Head voice, (within the changed voice), occurs at a specific pitch within a scale as a result of the thickness an
the vocal folds. Minor acoustical changes must be allowed to occur each half step within the head register to prevent the voice from sounding squeezed. De
the individual singer's folds, it can be a di erent acoustical changing point. Also, this point of change may be located at a slightly di erent spot depen
singer's vocal fach or vocal type. For example, a tenor might need to switch into head voice by the C4 or B4, whereas a bass might need to make the switch
A4. A soprano might make the change to head voice around the F#5, whereas an alto might make it around the E5.
Changing into head voice timbre a little earlier or lower in the scale, rather than waiting until the voice absolutely must switch, however, may free up the up
improving tone and ease of transition. I find that, even as a mezzo-soprano, I naturally start incorporating head voice timbre into my voice around th
depending on the vowel and the day, even though my voice could probably hold onto the middle voice timbre and not need to modify the vowels for
couple steps. However, if I were to maintain the timbre of the lower register until my voice absolutely must switch, the transition to head voice would be
highly perceptible, and my voice would start to sound and feel a little pinched or squeezed. Beginning the transition into head voice early enough in the s
the singer to find freedom and release in the head register so that a perfect blending of the registers is created.
One of the most noticeable consequences of failing to glide smoothly upward into the next register is a flattening of pitch. When a student begins to sing fla
notes, it is a telltale sign that he or she has likely reached the end of a certain register and has not made the necessary adjustments to continue singing on p
It is possible to extend the natural or chest voice upward by a few more notes past the first passaggio. (In a male singer, this extra range of the lower reg
represent his zona di passaggio, and would end at his second passaggio. In a female singer, the chest voice would merely be carried up into the lower
middle register.) Doing so, however, invites registration problems, as well as the potential for strain or injury. The voice will inevitably 'break' when it reach
where it can no longer sustain the same muscular control or vibratory pattern. Over-extension of the chest register is a very common occurrence with
adolescent female singers because of the over development of this range. Untrained males will o en switch into falsetto tone, rather than full, legitimate
because the decreased involvement of the vocal folds creates a release of the tension that has been mounting since the first passaggio was reached. It is alw
learn to blend the registers rather than push the vocal instrument in such an unhealthy, unnatural manner.
In my studio, I have noticed that singers of di erent voice types and vocal weights experience di iculties with negotiating di erent register transition point
a heavier or more dramatic voice with a lower-lying tessitura has more di iculty smoothening out the transition between the natural (chest) and the midd
(in females) or the natural and head registers (in males) because there is o en a mismatch between the fullness or heaviness of the lower range and the ligh
higher range, and because they have a tendency to want to carry the lower mechanism of the voice (the 'natural' quality of the voice that they are most c
singing with) up as high as it can go until it ultimately cracks and shi s into another vibratory pattern (register). Lighter, lyric voices and voices with
tessituras tend to glide through both the lower passaggio (registration change point) and the upper passaggio into head voice with greater ease because the
lower range doesn't di er substantially from the fullness of the middle and higher registers. Lower-voiced men tend to have more di iculty moving smooth
voice than do women in general, although altos seem to frequently struggle with the register changes between their natural (chest) voice and middle regis
or hollow sounding voices tend to have a great deal of di iculty smoothening out the registers.
Of course, all of the above challenges are remedied, though not o en easily or quickly, with vocal study that focuses on the adjustment of breath contro
modification, (referred to as aggiustamento in the international or Italian school), that will retrain the singer to navigate register shi s correctly.
Proper execution of register shi s - ones that are smooth and comfortable - requires the simultaneity of correct muscular balance of the voice, e icient
appropriate laryngeal depth and balanced tuning of the vocal tract (formant tracking). Many techniques are used to blend the registers. These techn
address coordination of the muscles of the larynx to prevent voice breaks, and maintenance of the acoustic pressures in the airways to avoid undesir
changes.
One exercise that I find to be helpful with my students who are struggling with register breaks in the lower passaggio is a series of five-note chromatic scale
a few notes below the register break point, then moving up to a few notes above it. I have the students sing these scales in both ascending and descend
because the adjustments that need to be made in terms of breath energy and vowel modification are di erent when going up and when going down in pitch
students and I will slow down the exercise and insert a glide between notes so that they can feel the subtle adjustments being made at the level of the
every note change. This exercise helps to retrain the muscles of the larynx over time.
While it may be appropriate at times during a lesson to isolate the di erent registers during certain exercises (e.g., to shorten the exercise so that others ca
into the lesson time or to work on a specific range of pitches or register that may be giving the singer some problems, etc.), it is preferable and wise to a
exercises that encourage the successful blending of registers, in which singers move from one register to the next, both ascending and descending in pitch. S
of registration can be obtained in no other way than by practicing the skill.
Repairing a register break requires time and patience. Some students find it to be the most challenging and frustrating aspect of vocal technique study
repaired, though, the singer can refine it further and practice to maintain a seamless voice throughout his or her entire range.
For blending the registers and allowing the laryngeal muscles to learn to gradually make the necessary changes, slides or portamentos through the pas
sometimes helpful, as are five-note chromatic or diatonic scales that begin a couple notes below the passaggio and end a couple notes on the other side of
For further discussion on vocal registration and register breaks, read Understanding Vocal Range, Vocal Registers and Voice Type - A Glossary of Vocal Term
practical tips and exercises for encouraging a more unified (blended) vocal scale, read Blending the Registers in Tips For Practicing Singing: A Practical Gu
Development.
M I D D L E R E G I S T E R O R M I X E D / B L E N D E D V O I C E O R T H E Z O N A D I PA S S A G G I
Blending chest voice and head voice qualities and colours is a major source of confusion and frustration for many aspiring singers. It may take years
However, once they understand how the voice works, blending becomes easier and nearly automatic, and the singer is able to sing with more emotion and
Although chiaroscuro timbre - characterized by a balance between the light (clear) and dark aspects of the voice's spectrum - is important throughout the vo
compass (range), it seems to become particularly important in the middle register where the voices mix. Some singers respond to a mathematical 'f
blending, in which the voice's tone is imagined to be comprised of fi y percent head resonance and fi y percent chest resonance - the actual proportions c
the pitch being sung, so that more head resonance and less chest resonance will be present as pitch ascends, and more chest resonance and less head
would be present in the balance on lower pitches. Other students respond to visualizations that involve the tone creating a smooth line in the front of
accepting the notion of a 'grey' area in which the voice is neither entirely head (white) nor entirely chest (black). Some students appreciate the concept o
the voice between the lower and upper passaggios (the middle register in women and the zona di passaggio in men) so that there is a balance of 'bass' and
others find it most successful and relaxing to simply focus on making the voice sound beautiful and free on every note rather than focusing too much atten
complicated physical mechanism involved in blending.
Regardless of the imagery that singers adopts to make blending the di erent voice qualities make more sense to them, the goal should always be to achie
tone with every note sung in the range.
CHEST VOICE
When singers refer to chest resonance, they are actually talking about vocal tone that is characterized by darker vowel qualities or mellowness,
accompanied by a distinct sensation of vibration in the chest, especially in the sternum and breastbone area. This register mode occurs in the lower to mid
speaking pitch. The term itself, however, is a misnomer since an e ective resonating chamber is a hollow place surrounded by hard surfaces, (such as bon
chest is too full of organs to be suitable for amplifying the singing tone. Since resonance occurs where there is plenty of empty space for amplification o
vibrations created by the vocal folds, what singers may associate with chest resonance is actually sympathetic vibration; that is, vibrations being conduc
the bones of the chest cavity. Not all singers experience sympathetic vibrations in the chest when singing in this register. Some only feel it when their hand
on their chests.
I prefer to use the term natural voice when referring to this register in the singing voice because it denotes the natural disposition or mode of the vocal f
speech level pitch range, the singing voice should sound almost identical to the speaking voice, and so using this term seems to be a better description of
'natural' voice production that is desirable within this range. It removes from the description of the vocal register all subjectivity or mislabeling.
HEAD VOICE
Head resonance, when properly supported, has a brilliant ringing tone quality as compared to the chest resonance singing tone. This bright voice tone is d
the bones and cavities above, behind and around the nose that is o en called the 'mask', or 'masque'.
Since the head voice is seldom used during everyday speech - in women, the head register begins on the notes at the top of the sta - the muscles and the t
be underdeveloped. Most classical technique instructors tend to spend more time developing the tone, intensity and volume of this high register becau
more work than the chest (natural) and medium voices do, as they are more commonly used in speech and in contemporary styles of singing.
When singing in head voice, a singer must maintain a forward "placement" so that the vibratory sensations - the resonance of the voice - can be felt in the b
face. If the tone is allowed to slip back into the throat or spread, it will be impossible to produce a good tone with e ective resonance and volume. In this
jaw must also relax and slightly lower to create more space and to promote equilibrium among the overtones, which will reduce shrillness in these hig
explain more about why this is the case in Formant Tuning In the Female High Range in my article on vocal tract shaping and in the section on vowel mo
Vowels, Vowel Formants and Vowel Modification.)
If head resonance is not supported, the singer usually produces a false falsetto tone because the singer must switch into a 'choir boy' tone in order to si
pitches.
Head voice occurs as a result of the laryngeal tilt (or cricothyroid adjustment, in which the larynx rocks forward and elevates slightly as pitch rises). W
laryngeal adjustment, the singer will find singing in the higher register extremely di icult.
FA LS E T TO
The term falsetto designates a timbre in the male upper range that is imitative of the female timbre. Science shows that women are capable of producin
voice. However, this phonation mode or tone quality is not typically recognized in the singing world because an incomplete vocal fold closure in fem
produces a breathy tone that sounds very di erent than the falsetto tone that males produce. It will not sound as though the woman has switched to anoth
Many singers incorrectly think that falsetto and head voice are two names for the same technique. This, however, is not the case. Although head voice and f
be produced at the same pitches in male voices - those pitches that lie above his primo passaggio - and may be described as 'running parallel' to each oth
the techniques and resulting sounds between the two voice productions are di erent. In other words, falsetto is recognized in historic voice pedagogy as be
from full head voice. Unlike the sound of head voice, which is richer in overtones and has the potential to produce a substantial Singer's Formant - tha
strong 'ring' - falsetto voice is weak in overtones, has a more 'flute-like' quality, and therefore produces no Singer's Formant.
The main di erences between the sounds of falsetto and head voice production lie in the amount of laryngeal involvement. Falsetto is a voice production i
vocalis muscles (the thryroarytenoids) are inactive and lengthened by the action of the cricothyroid muscles, which are nearly fully contracted. The soun
is produced by the air blowing over the very thin edges of the thyroarytenoids, which are easily blown open or apart by the breath because the thin, length
of the vocal folds display little tension in opposition to the stretching action of the thyroarytenoids, and little resistance to breath flow. The pitch is contro
by a regulation of the breath flow.
In order to create head voice, increasing tension of the thyroarytenoids creates a tauter, more substantial edge to the vocal fold, which in turn creates mor
to the flow of breath, and building subglottic pressure - pressure below the closed vocal folds - can be felt. Increasing the activity of the thyroarytenoids in r
the stretching action of the cricothyroids will increase the subglottic pressure and change from the tone quality of falsetto to the ringing sound of the head
male singer can easily sense this di erence in breath pressure between falsetto and his true head voice.)
In voice training, sometimes falsetto tones are used to help male singers with pressed phonation reduce vocal-fold tension in the zona di passaggio and i
range.
The falsetto voice is produced by the vibration of the extreme membranous or ligamentous edges of the vocal cords either in whole or in part, while the m
the fold is more or less relaxed. In other words, edges appear to be the only parts vibrating, while the mass corresponding to the innermost part o
aryntenoid muscle remains still and motionless. However, in more skilled singers, the mucous membrane of the vocal folds contact with each other compl
each vibration cycle. The arytenoid cartilages are held in firm apposition - they are touching - in this voice register. (This tends to produce a sound that mi
female voice rather than a breathy falsetto-type tone.) Also the length or size of the oval orifice or separation between the folds can vary, but it is known to g
size as the pressure of air pushed out is increased.
In others, o en seen in more trained singers, the full length of the glottis opens and closes in each cycle. In still others, a phenomenon known as dampi
with the amount of glottal opening becoming less and less as the pitch rises, until only a tiny slit appears on the highest pitches. To some extent, dampin
and healthy. However, it can quickly deteriorate to 'pressed phonation'.
For more details on falsetto tone production, refer to the falsetto section in Understanding Vocal Range, Vocal Registers and Voice Type.
VOCAL FRY REGISTER
Singing teachers don't o en refer to the vocal fry register because it is not regularly produced by singers - it is not easily accessible to them - and beca
considered a legitimate performance mode of phonation.
The vocal fry register (also known as pulse register, laryngealisation, pulse phonation, creak, glottal fry, glottal rattle, glottal scrape or strohbass), is
vocal register. It is produced through a loose glottal closure that permits air to bubble through slowly with a popping, rattling or crackling or 'static' sound o
frequency. The voice sounds as though it is 'frying'.
During the vocal fry mode of phonation, the arytenoid cartilages in the larynx come together in such a fashion that the vocal folds compress tightly a
relatively compact and slack. This process forms a large and irregularly vibrating mass within the vocal folds that produces the characteristic low poppin
sound when air passes through the glottal closure.
The vocal fry register is chiefly used in singing to help a singer reach low pitches that would not be available to the singer if he or she were singing in the m
or natural) register. The physiological production of vocal fry can be potentially damaging to the vocal folds if used frequently, particulary if it is brought
chest register. It may also cause singers to lose some of the upper notes in the chest register. However, in some cases, the use of vocal fry may help stude
produce lower notes if they have previously been unable to due to excessive tension of the laryngeal muscles and of the support mechanism that leads t
breath pressure in this range of pitches.
I find that most of my female students tend to resort to a vocal fry production as they descend below F#3 or F3 in pitch (the F# or F below middle C). It is
teach students to produce a clearer tone that more closely matches that of the chest voice in this range of pitches by simply focusing the tone bet
envisioning a narrowing of the tone and preventing the placement from slipping back into the throat. This action frees the voice of excess laryngeal sla
enables the students to sing lower notes more comfortably and to sound a little more pleasant. The lower range is o en extended by several notes wh
becomes clearer.
T H E R O L E O F B R E AT H I N G I N T O N E P R O D U C T I O N
Many aspiring singers are tempted to brush over breathing technique and to forego breathing exercises or 'homework' because breathing seems far to
tedious a skill to fit with their lo y aspirations. They want to jump right into the more challenging and fun aspects of vocal study, even before they have
foundation, and this is a detrimental temptation to fall into.
What all students of voice must come to understand and appreciate is the important role that breathing plays in tone production. Good management or r
airflow will encourage a clear, pure, free, natural, seemingly e ortless tone. With good breath control, a singer can give volume, stability, strength and quali
change imperceptibly from one register to another or increase or diminish the power of a tone within the same register, or alter the voice's volume in order t
so er e ects. Perfect control of the voice can safely and easily produce volume without degradation of tone (e.g., a shrieking or shouting sound), and allow
purity and freedom that are essential to good singing.
Singing requires more lung pressure than speaking does. The entire duration of a sung note or phrase must be 'supported' or secured by a gentle, un
stream of breath behind it. A singer should be able to take a full breath easily, quickly and silently, and then regulate the rate or pace at which that a
(appoggio) during phonation. A steady, controlled stream of air enables a singer to produce a steady, controlled tone. The equal and continuous pressu
against the vibrating vocal folds produces equal vibrations, and maintains equality of sound throughout its entire duration. The quality of tone shou
minimal yet healthy breath stream. This small stream of breath must travel at an even rate.
Without good breath control, on the other hand, a singer's tone will be shaky and thin, and possibly breathy, even before it escapes from the mouth. Sudd
in sub-glottic breath pressure will not only distort tonal quality and lessen the singer's ability to sustain longer musical phrases (due to the loss of excess
breathiness of tone), but they may also cause problems with pitch.
Please take some time to read over my article Correct Breathing For Singing. In it, you will find information about the breathing mechanism and an explana
diaphragmatic breathing is the body's correct and natural way, as well as some basic exercises to start you on your way toward correcting and strength
breathing. With breathing technique mastered, you can then turn your attention toward achieving better clarity, smoothness and pleasantness in your tone
Once good breath support is examined, it needs to be applied to singing. Breath should seem to turn into tone, without any perceptible or noticeable e ort
EXERCISES
As with the exercises that I've included in my article on breathing, these tone development exercises are very basic, and are not intended to replace
guidance of a vocal instructor in a 'live' lesson situation who can give you direct feedback on your vocal tone and guide you to improvement. (Rememb
don't hear your voice inside your head as others hear it, and you may initially need someone to help you recognize when you are producing desirable to
teacher will check your breathing technique, helping you turn breath into tone, as well as how you adjust your vocal tract - your vocal posture - in order
achieve a balanced tone.
It is important to become aware of your tone and 'placement'. We have several resonators in our bodies, including our facial cavities such as the nose and m
my article on the Anatomy of the Voice to get more detail.) The smaller, thinner bones and the more narrow cavity of the nose are meant to support the s
vibrations of higher pitches, whereas the larger, more open spaces of the mouth and throat respond to the resonance of lower pitches. To experienc
phenomenon, try tapping with your finger on your chin and listen to the echo of the sound inside your head. Now try tapping on the spot between your nos
lip, just above your upper teeth. You should notice a rise in pitch from the first spot to the second. If you tap on the bony bridge of your nose, you will not
sound is higher yet in pitch. Finally, tap on your forehead.
Second, the higher the pitch that you are singing, the higher up on your body you will likely feel the sensations associated with resonance. (Again, these sen
really the result of sympathetic vibration. The way in which we describe or label our registers - e.g., 'chest voice', 'head voice', etc. - generally indicates the
which we feel the most resonance, rather than the location at which it is actually produced; that is, the larynx.) If you were to practice humming a musical
you were to hum correctly (i.e., with appropriate volume and focused tone, you should be able to feel the sympathetic vibrations from your voice move h
notes get higher and, conversely, lower as the notes get lower. (If you do not feel your face vibrating, you are likely not humming correctly and may need to
adjustments.) These vibratory sensations should be felt especially in the bony structures of the head, even at lower pitches. This area is o en referred to as
You will probably feel your teeth vibrating, which may tickle your lips, at times. (Even though all singers have di erent physiological experiences while sin
should be some sensation somewhere in the head while you are singing.)
Try humming a single note that is comfortably within the middle of your range. When you feel a strong vibration in your face, open your mouth. The vibra
still be there, and in the same place. Try using all five pure Italian vowels ([e], [i], [a], [o], [u]) when you open your mouth. (Don't exaggerate how you form
with your mouth, such as opening up more widely than you would in ordinary speech, because that will create distorted vowels and an imbalanced, unple
as well as excess tension in the jaw, tongue and neck.) You may find that some vowels, such as open vowels, are easier to sing than others, such as close
vowels. Avoid the tendency to add a diphthong to the [e] vowel (e.g., singing 'ay', with the 'y' pronounced at the end). Instead, maintain the fist, more open
vowel.
Now try humming a few notes at a time, then scales, and pay close attention to where you can feel the resonance of your voice. When you are actually si
scales and notes, this is where your voice should also be resonating. It shouldn't become closed o in your nose so that your tone is nasally nor drop ba
throat. Think of keeping the sound 'forward'. Also, it shouldn't sound breathy or airy. (You may recall that breathiness, or unfocused tone, is caused by
vocal fold closure during phonation - sound production - and a lack of breath energy or good support.) If it does, or if the tone is shaky or weak, go back t
your breathing exercises and then apply better breath management skills to the more basic humming exercises, one note at a time, opening up to a single v
tone is still not clear a er you have mastered breath support, work on improving the onset of your tone.
Sometimes it helps to place an 'm' or an 'n' before the vowels, at least initially, because these naturally resonant consonants can help to 'ground' the ton
you to feel more resonance or 'buzz' and keeping the vowel from spreading. Many of the exercises that I have my students sing during lessons, particularly
parts of their range, include 'm's' and 'n's' at the beginning of the vocal phrase (or series of notes) with the rest of the phrase being sung strictly on the vow
student has mastered placement and consistently produces a clearer, more e icient tone, these consonants are usually removed from the exercises.
Some Bel Canto (meaning 'beautiful singing' in Italian, and referring to an Italian mode of singing or a classical singing technique developed in seventee
Italy) instructors believe that it makes little sense to train a singer on a consonant because Bel Canto singing is characterized by the ability to sustain a line
to vowel without allowing consonants to get in the way of vowel production - in other words, it is the vowels that are sustained during singing, not the c
which serve the purpose only of forming di erent words - and because the resonance that is felt in these positions is nasal and false. However, I have seen s
my newer students who have never really felt the 'buzz' in their singing voices before. Although these nasal vowels may create a false sense of resonance b
felt so strongly in the nasal cavity, tone tends to balance itself out once the velopharyngeal port is closed to produce the vowel, and the student is able
more clarity of tone due to better vocal fold approximation.
I would also argue that, since 'm's' and 'n's' are consonants that are indeed present in all vocal literature (songs), it is both safe and practical to inclu
technique training, so long as they are not used to the exclusion of other consonants. If a student of voice never has an opportunity to use consonants d
training exercises, he or she may struggle to keep them from posing obstructions to good vowel tone when they are added later in his or her performance re
my studio, I find that some students allow back-formed consonants like 'g' to move the placement of the vowel back, and forward consonants like 'd' or
consonants that are formed by impeding the flow of air somewhere in the vocal apparatus so that a friction-sound is produced - are o en sung too harshly
may be either voiced, as in the case of 'v' and 'z', in which the vocal folds vibrate during the articulation of the fricative, or voiceless, as in the case of 'h' and
the vocal folds do not vibrate during the articulation of the fricative.) It is always a more balanced approach to vocal training to include all consonants in
some point because they can easily a ect the quality of the resonance produced, which will be noticeable on the following vowel. Bel Canto, a er all, mean
singing', and a singer's voice can't be beautiful if any element is missing from his or her training.
Finally, experiment with focusing your vocal tone in various parts of the resonating chamber that consists of your throat, oral cavity and nasal cavity. Begin
the tone out through your nose and sinuses - intentionally producing a nasally tone - to see what that feels and sounds like. (This sound is usually accom
bunched up tongue.) Next, try creating a 'throaty' sound, and take note of how this sounds and feels. Then, try centering the sound in the large, m
resonating space and note the way that this sounds and feels. You'll find that the former methods create a tone that does little to complement your natural
the latter creates a richer, fuller, more compelling sound. I sometimes have my new students sustain a single note on an 'ah' while they experiment wit
placement - while they learn to tune their formants and achieve balance in their resonance. When they hear that fully resonant 'ring' inside their heads, the
of it, and I usually give them the proverbial 'thumbs up' as an external listener when their tone sounds balanced or centered. This exercise can be very
most students with relatively good breath support and vocal fold closure can hear and feel when their tone seems to be 'perfect' because it rings so stro
their heads.
Practice singing in the more centered tone mentioned in the previous step, being certain to keep the throat open and note the resonance that indicates co
all the resonating spaces together. Before trying for a more individualized tone, you need to master keeping your tone consistently centered.
Initially do not strive for a 'beautiful', rich or even 'big' voice. Don't attempt to make your voice into anything that it isn't naturally because you are
impression that this is how singing should be approached and how it should sound. Rather, let your aim be simply to achieve complete freedom o
mechanism, which will result in healthy, balanced resonance. In time, with good technique applied to singing, timbre will improve in all areas of the r
compass), and your own personal style can be added.
24/2/2019 Singwise - Singwise - Throat, Jaw, Tongue and Neck Muscle Tension and Pain During Singing - Causes and Solutions
SINGWISE
T H R O A T, J A W , T O N G U E A N D N E C K M U S C L E T E N S I O N A N D
PA I N D U R I N G S I N G I N G - C AU S E S A N D S O LU T I O N S (PAGE 1 O
Throat, jaw, tongue and neck muscle tension, sti ness and pain are some of the most common complaints that voice teachers hear from their newer stude
along the vocal tract and the support muscles arises when the singer's vocal behaviours do not fall in line with natural anatomical function; with how
designed to generate and filter sound. A particular ine icient behaviour or localized activity may stand in the way of the coordinated whole, prohibiting f
specific area of voice function. (The individual components of the voice mechanism, including breathing, laryngeal function, resonator tract shaping and a
must be combined and coordinated if optimal functioning and skill level are to be achieved.) All muscle tension along the vocal tract is interrelated (e.g., te
tongue can be connected to submandibular tension, laryngeal sti ness, etc.), and a singer may find that resolving one area of tension will serve to improve
This article is going to address many of the most common errors of coordination that singers make, and specifically those that cause tension or pain in the
tongue or neck. I intend to o er some solutions to these problems, as well. However, the root cause of many of these problems may be complex and thu
pinpoint, and poor technical habits that have existed for many years, (along with the muscular imbalances that they create), may take a long time to correct
As always, none of these solutions are guaranteed to work for all singers, as every singer has a unique instrument and approaches singing technique di
advice is intended only as a starting point from which singers can begin to gain some awareness of their vocal habits and perhaps resolve any sim
Furthermore, attempting to apply my advice on one's own, without the guidance and feedback of a skilled and knowledgeable voice instructor who can l
observe the individual singer, may not produce the desired results. It is always preferable that a singer seek out the help of a vocal technique instructor
able to diagnose that individual singer's problems, and provide an individualized training program that will help that singer achieve greater success and op
health.
The first step in reducing any kind of tension is figuring out what is causing it. (In other words, a little 'detective work' may be required.) I recommend b
examining the singer's vocal posture - how he or she is filtering laryngeally generated sound through the vocal tract - to ensure that everything is in good
No detail of posture should be overlooked or considered too insignificant to matter. Spend some time watching yourself in the mirror, taking a look at the m
your neck and jaw muscles while you are breathing, talking and singing. Recite the words of a poem or the lyric of a song using normal speech inf
conversational volume. If there is a lot of movement of the neck muscles, for example, during normal speech, you have possibly developed some in
potentially detrimental speaking practices or habits that have spilled over into your singing. (Many singers find that learning correct singing techniq
improves their speaking tone and gives them more control over their speaking voices.) Although I will be addressing both incorrect and correct vocal pos
sections below, my article entitled Singing With An 'Open Throat': Vocal Tract Shaping discusses healthy singing posture in much greater detail.
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=ThroatJawTongueNeckTension 1/7
Once the causes for the excessive tension have been identified, the singer and teacher team can then begin applying appropriate exercises to correct and e
problem. Patience and perseverance will be required, as it o en takes a long time for tensions and sti ness to be eliminated. Singing is a skill based largely
memory, and it is easy for singers to develop consistently bad habits during singing or speech that translate into tensions throughout the entire body. M
feel as though their problems seem like an 'automatic reflex', and muscle memory may explain why this is the case. Fortunately, muscles can usually 're
habits over time if one perseveres in learning the correct and healthy approach to vocal technique.
T E N S I O N C A U S E D B Y A N X I E T Y, S T R E S S O R F A U LT Y P E R C E P T I O N S A B O U T
SINGING
Examining other factors in addition to physical behaviours, such as the singer's emotional or psychological health, may also shed some light on why throa
or tongue tension is present. For example, ongoing stress may cause an individual to hold tension in the neck, shoulders, jaw and tongue even when that
not engaged in speaking or singing tasks.
Excess psychological and emotional stress can play a role in tension, and singers may need to deal with their stress (e.g., finding the source and then reduci
through meditation, relaxation, massage, prayer, counseling, medical treatment, etc.) before seeing alleviation of their muscular tension and improvem
singing.
I have found that one of the major causes of any kind of tension along the vocal tract is the singer's perception of just how di erent singing is from speakin
much more di icult it necessarily must be. If the individual perceives the task of singing as being arduous and significantly more involved in function and p
more complicated and thus more di icult - than speaking, he or she will usually exert a great deal of e ort in trying to sing. This kind of counterproduct
tends to a ect the singer most in the upper range, where mounting vocal fold tension meeting with increasing breath pressure creates a sense that mo
e ort is required. Many untrained and poorly trained singers experience anxiety as pitch mounts, which inevitably causes them to tighten their muscles, o
'muscle' their way up the scale.
Here is a bit of philosophy or 'food for thought' that my vocal instructor once shared with me: Singing is about eighty percent psychological and only ab
percent physical. Although the sounds of the voice are produced entirely by the anatomical structures of the body, making the above percentiles between p
psychological involvement inaccurate in any true scientific sense, the mind does play a significant role in determining what kinds of sounds we produce. As
some basic skill level is present, enabling the body to physically create variations in pitch, tone and articulation, the singer need only will his or her voice t
given pitch, melody, sound, or word and the body is able to respond to the request with a certain degree of precision.
That being said, our minds and our attitudes can certainly have a tremendous impact not only on how we use our voices, but also on how we think about ou
lot of the tension that we experience while singing is due to the fact that we o en think of singing in unhealthy, counterproductive ways (e.g. it's a d
unnatural activity, we need to do something substantially di erent with our bodies than what we do while speaking, we need to be loud, we should sou
way, we should be capable of a certain range, etc.). We perceive or imagine it to be di icult and unnatural, and thus we make it more di icult and unnat
needs to be. Singing is easy and natural for our bodies, but not always so natural for our minds. Once our trepidatious minds take over, the physical aspect
can begin to su er.
It is true that singing tasks demand greater breath management and breath energy than do speaking tasks. There is a certain degree of athleticism req
serious singer. In normal speech, phonation on a single respiratory cycle is generally of brief duration - typically for no more than about five or six second
for singing, while based on the same natural processes as those used in speech, must be enhanced in order to accommodate extended duration and inten
as higher pitches that are not generally used in ordinary conversation. How we breathe and produce our voices during singing remains in accordance w
function, though. Nothing that we do during singing should violate the physiologic bases that permit natural functioning of the voice, and all premises,
techniques that are inept or harmful should be abandoned immediately.
Furthermore, the rules of articulation remain relatively the same during singing tasks as they do for speaking tasks. There is a commonly used eightee
Italian phrase that stresses that singing and speaking make use of the same mechanical processes. 'Si canta come si parla' means that one sings the way in
speaks, and it is something for all singers to keep in mind. All unnatural adjustments of the vocal tract in singing within speech-inflection range should be
they lead to muscular tension, strain and potential injury, especially during more demanding singing tasks. Although some minor modifications of this prin
when singing pitches above speech-level inflection (i.e., in the head register ), the articulatory definitions of singing should remain relatively similar to thos
If a singer perceives the act or technique of singing to be substantially di erent than that of speaking, he or she will begin to position the tongue, ja
di erently, as well. It is very common, for example, for misguided singers to feel the need to open their mouths very widely, believing that doing so will
voices sound and 'project' better. Instead of improving the quality and volume of their sound, however, such an unnatural vocal posture distorts dictio
natural resonance and volume and creates tensions and discomfort.
Since most individuals are not encouraged to sing freely in public on a regular basis, there is also a self-consciousness that tends to accompany their singin
it is within earshot of others. Many people do not feel comfortable with and do not trust their singing voices, and they tend to tense up as they worry about
might be judging the quality of their singing. They worry about successfully singing higher notes or making noticeable pitch errors, and thus embarrassing
Singing is also highly personal, since the voice comes from within our own bodies, and many people assume that others will interpret their poor sing
deficiency or inferiority of their personhood. Many untrained singers find that taking lessons improves their singing skills, which in turn increases their
With better technical skills, they soon learn to be able to trust that their voices will do what they want them to do whenever they want them to, and they are
to relax and find enjoyment in singing.
Of course, singing in front of a professional voice instructor can be very intimidating at first, too, and most new students are nervous when singing their voc
for the first several lessons. Nervousness is normal. However, it is important to remember that the teacher is there to help you improve, not to laugh at you
you feel bad about yourself. Teachers hear singers of all di erent levels, and although they may have heard better than you, they have also likely heard wo
is just part of the profession - a part that many voice teachers, including myself, welcome because we enjoy the challenge of finding solutions and the rewar
a student improve and succeed. Being overly self-conscious will impede the learning process and will waste your time and money. (I, personally, learned t
way when I first started studying voice with my instructor. It took me years to get past my extreme shyness and nervousness, and to feel completely c
singing in front of him, even though I had performed numerous solos in public before I had even started taking lessons. It had nothing to do with him as
teacher, mind you. I was a nervous wreck before and during performances, too. My nervousness could be attributed entirely to my own lack of self-confide
embarrassment and mistrust in my singing voice. Knowing that he was a trained and highly skilled singer and an expert on the voice was nonetheless in
though.)
If anxiety about singing higher notes is at the root of the singer's tension, it is usually best for the individual to sing only within a comfortable range of pitc
of the fundamental aspects of healthy singing have first been addressed and demonstrated with consistency. A lack of confidence in one's ability to sin
tessituras), will lead to tension. Singing higher notes with tremendous muscular tension can lead to forcing and, sooner or later, to vocal fatigue, strain or
expectation that pain will surely accompany the singing of higher notes may also make the singer feel very anxious about singing those higher pitches, w
him or her to respond with even more muscular tension. Once the singer is consistently applying correct technique to his or her singing in a comfortable
she will likely feel less nervous about gradually approaching the upper range, and will be able to do so with greater skill, comfort and confidence.
L A C K O F K N O W L E D G E O F V O I C E A N D S I N G I N G A N AT O M Y A S W E L L A S P O O
S P E E C H H A B I T S A N D V O C A L T E C H N I Q U E M A Y C R E AT E T E N S I O N S D U R I N G
SINGING
One Finnish study by Liisa Leppï¿½niemi found that having little knowledge of the anatomy and physiology of the vocal mechanism, such as the structure o
and breathing mechanism, was associated with more neck muscle problems, whereas having good knowledge about the voice was associated with
di iculties. Therefore, studying the anatomy of your voice and breath production will likely help you to gain better awareness and control of your muscle
you to relax them more readily.
It's important to remember that singing is only one aspect of voice, and that it is not unrelated to other phonatory functions, including speech. Error
production may go unnoticed until the individual attempts to apply the same erroneous voice technique to his or her singing. The same study by Leppï¿½
found that singing voice problems are o en associated with detrimental speaking habits, which may include everything from improper tone produ
breathiness, hypernasality, 'throatiness', a pressed sound, etc.) and 'placement' to ine ective breathing to shouting to speaking excessively. Becoming aw
speaking habits may be another good place to start looking for answers to your muscle tension problem. Although bad singing habits don't always develop
speaking habits - a lot of untrained singers use their muscles di erently while singing than while talking - sometimes there is a link.
Possibly the greatest thing that you can do to resolve your muscle tension problems is to begin or continue studying vocal technique and learn how to use
properly. Studies, (such as the Laryngeal biomechanics of the singing voice. Otolaryngology - Head and Neck Surgery , Volume 115 , Issue 6 , Pages 5
Koufman, T. Radomski, G. Joharji, G., Russell, D. Pillsbury), have shown that female professional singers have the lowest muscle tension scores, where
female singers display the greatest amount of muscle tension in their necks. In this same study, male singers, both professional and amateur, had intermed
tension scores, and classical singers had lower muscle tension scores than non-classical (e.g., pop, rock, jazz, etc.) singers. It stands to reason, given the find
particular study, that getting vocal training that emphasizes proper (classical) technique is likely to be the best solution to neck muscle tension problems ov
If you are just starting out, you may have some bad habits to rid yourself of, and some more training may help. If your instructor is any good, he or she wi
help you figure out how to correct your habits and use your body properly for both singing and speaking tasks.
T E N S I O N I N T H E T H R O AT
The 'throat' is a very generalized area. Typically, the term throat refers to both the pharynx and the larynx, which may make finding the exact location
tension is most felt a little challenging. Also, since all muscle tension along the vocal tract is interrelated, identifying the specific site of pain or tens
impossible. Pain in the area of the larynx may be caused by incorrect use of the tongue, for example.
As always, an investigation into the reasons for throat tension should begin with a close assessment of the singer's vocal habits, including positioning of
jaw and neck. If generalized throat tension is your complaint, read the following sections carefully, and see if you can identify any specific malada
behaviours that may be creating your tension.
If you are experiencing persistent generalized or localized pain in your throat, you may wish to consult with an otolaryngologist or an ear, nose and throat d
to see if he or she can pinpoint any underlying 'organic' (medical) or 'functional' (behavioural) problems that might be causing you to develop excessive ten
muscles. For example, muscle tension dysphonia is characterized by the vocal folds failing to come completely together because two muscles are pull
opposite directions simultaneously. While the vocal folds have the ability to assume the correct position for a task, they do not because they are pulling
another in an ine icient fashion. (This is thought to most likely be a learned behavior.) Your voice is a delicate instrument, and you need to take good car
wish it to function well and to last for your lifetime. Sometimes a medical professional is the only one who can make an accurate diagnosis of your probl
better to be safe than sorry.
TENSION IN THE TONGUE
Because the tongue is a complex bundle of muscles, tension felt in any part of the tongue is not typically confined to a particular region, such as the front,
or base. Rather, it is experienced throughout the entire organ.
Tongue tension usually occurs when the tongue is not permitted to move within the normal postures of speech production - that is, when it is not in acco
rest of the vocal tract that produces phonetic formation. Singers should watch that they aren't doing anything significantly di erent with their tongue pa
they sing than what they would do while speaking in that same range of pitches.
They should not exaggerate their articulatory motions in an e ort to improve diction, as this is unnatural for the body and will likely create tension and
within the vocal tract. The tongue apex (tip) should remain in its resting position, making gentle contact with (i.e., not pressing firmly up against) the inne
the lower front teeth for all vowels and for numerous consonants. The tip of the tongue rises to the alveolar ridge, located on the hard palate behind the
teeth, only for certain consonants, and it occasionally assumes transitional locations for yet other consonant formations. The body of the tongue should r
arch and not be permitted to flatten.
Allowing the lips, jaw and tongue to follow patterns of spoken enunciation will cure most problems of tongue tension. Sometimes speaking phrases then s
on a single pitch in lower-middle range with the same patterns of phonetic articulation as occur in speech can help to loosen the tongue. As pitch ascends
should open comfortably, but relative relationships among phonetic shapes should remain; that is, the tongue, as well as the mouth and lips, should contin
the integrity of the vowels and consonants.
The most successful exercises to reduce tension involve simulating a chewing motion, (not actually chewing anything, though). With the lips slightly apart
gentle and subtle chewing motion. Next, with the lips closed, hum a few pitches while moving the jaw up and down in a gentle chewing motion. Then, usin
lateral jaw movements experienced in chewing, sing a short phrase in comfortable range. (Some diction distortion will unavoidably take place because yo
moving your jaw in natural phonetic ways.) Sometimes using a mirror to watch what is happening with the jaw and tongue helps. Follow this by singin
phrase without the chewing motions. Then, introduce longer phrases, alternating chewing motions with normal articulation postures.
To loosen and relax tongue tension, the singer can sustain an a irmative spoken 'Hm!' at comfortable pitch and dynamic levels. Attention to the contact of
apex (tip) with the inner surface of the lower front teeth should be drawn. While executing a vowel sequence quickly, such as /i-e-a-o-u/, the apex of the ton
moved in small back-and-forth motions against the inner surface of the lower front teeth. While sustaining the tone, stop the lateral movement of the tongu
acoustic-at-rest posture of the tongue should be reestablished, eliminating tension in the tongue musculature. The singer can then return to musical phras
that the tongue retain this freedom.
The key in the above exercises is to keep the movements of the tongue very small and subtle. If the tip and body of the tongue are moving dramatically, the
end up increasing the tension instead of lessening it. As always, such exercises that involve moving the tongue are intended to be temporary measu
eliminate tension and to give the singer experience of singing without tension, and should be gradually replaced with a more stable tongue posture that is
to the articulatory demands once the singer begins to feel a decrease in tension or strain.
Another exercise that I've used with a couple students with retroflex tongues - tongues that habitually leave their proper resting positions and push ba
throat space involves placing the tip of the tongue on top of the lower teeth, just behind the lower lip while singing short scales or arpeggios. The most imp
is that the singer finds a relaxing position and learns to keep the tongue arched, forward and out of the throat space. Depending on what is causing the tong
tension, this slight stretching of the tongue may actually increase the tension, and the exercise should be stopped if the singer finds this to be the cas
people, though, it helps them to relax, as they don't have to concentrate on articulating and sounding 'pretty'.
TENSION IN THE JAW
Jaw tension typically occurs from either clenching the jaw (o en while sleeping, but also during waking tasks that should otherwise be relaxing activit
watching television) or hanging the jaw too low while singing. The singer should examine the posture of the tongue, jaw and neck, and watch that he
holding the jaw tightly (clenching) either during singing or during speaking tasks and that he or she isn't holding excessive tension in the jaw while not
singing or speaking tasks.
This kind of continuous tension may lead to conditions such as temporomandibular joint dysfunction (or TMJ), characterized by clicking and popping
sti ness of the jaw joints, that is o en caused by poor posture, with lack of head, neck and torso alignment, as well as by tongue and jaw tension. Many s
vocal habits, such as dropping the jaw excessively or thrusting it down and forward so that it becomes unhinged at the joints, that contribute to this dysfunc
Some singers and teachers believe that a tight jaw can be cured by dropping it or forcing it downward. However, allowing the jaw to drop too low (or th
open too widely), which some singers do in an e ort to make their voices 'project' better or to increase the strength of the first formant, creates tension an
jaw mobility. It should also be noted that lowering the jaw excessively does not create more resonating space within the vocal tract. On the contrary
pharyngeal space and forces the submandibular musculature to press downward on the larynx, so natural volume is hampered and tone is distorted an
imbalanced.
Singers need to be mindful not only of how low their jaws are dropped, but also of how forward they are allowing them be. Many singers have a tenden
their lower jaws forward during singing, known as the 'forward jaw technique', especially as they approach higher pitches or in an attempt to hear their
better inside their heads. Placing the jaw in a distended posture, however, invites acoustical and phonetic distortion - voice timbre becomes drastically dis
the higher overtones being cut out and an immature sound being produced - as well as malfunction of the vocal instrument.
Typically, thrusting the jaw forward forces the temporomandibular joints out of their sockets. When the jaw is placed in a forward position, undesirable te
submandibular region (muscles located below the jaw) is induced. The vocal folds approximate (close or come together) poorly, which causes brea
prevents the folds from functioning e iciently and healthily. The tongue also gets pushed back into the pharynx, filling up the primary resonator with to
creating a gag reflex at the tongue root and producing a throaty sound. This technique also elevates the larynx, which contradicts what the singer
accomplish. With the larynx functioning in a high position, only a thin, immature sound is produced. A large 'break' in the voice (also due to the poor addu
vocal folds) is o en produced. Finally, normal velar (so palate) elevation is inhibited, so the so palate assumes a low position, o en resulting in a na
tone.
Whenever the jaw is thrust forward, there is also o en not a healthy separation between jaw and tongue function, which makes the tongue tense and legat
word meaning 'tied together', suggesting that the transitions between notes should be smooth, without any silence between them) lines impossible to e
breath is o en choked o by the root of the tongue, which is bunched up inside the throat space, making the breath line unhealthy and ine icient. The large
tension at the root of the tongue also distorts vowels.
Some singers are instructed to attempt to maintain the same very wide 'oval' mouth shape regardless of the vowel being sung, o en referred to as the 'loc
'jaw locked open') position. However, since locking the jaw in one position does not promote the changing acoustic events of phonation, this technique dis
vowels throughout the entire range, destroying both diction and resonance balance. It also invites tensions throughout the vocal tract, as the jaw i
permitted to move freely, as it would during speaking tasks.
It is also common for some teachers to incorrectly assume that students who don't have very wide mouth openings have tight or clenched jaws. Indiv
construction (i.e., either a small or large mouth-and-jaw construction) determines the degree of buccal aperture (mouth opening) in speaking and in sin
normal and appropriate for an individual singer, and all singers should not be expected to look alike with regard to the extent of mouth opening. Returning
tasks or incorporating spoken phrases into singing phrases, as described in the exercises below, will indicate what the jaw should be doing over a large
singing range for the individual.
Misalignment of the jaw structure can also impact the freedom of the jaw and movement of the mouth. Sometimes, a jaw that protrudes forward is caused
or cerebral misalignments or vertebral subluxations - when one or more vertebrae have lost their proper alignment with neighbouring vertebrae - that can
and corrected through quick and painless chiropractic adjustments.
The correct jaw position is slightly down and wrapped back in its joints. In Italian, this ideal singing posture is referred to as 'raccogliere la bocca', which t
'to collect the mouth'. Keeping the jaw in a comfortable and healthy position will decrease tensions and will encourage healthy and beautiful singing.
Once proper phonetic postures are reestablished (i.e., where the integrity of the vowel, determined by postures of the jaw, lips, tongue, velum and
maintained, and flexible adjustments for rapid phonemic and pitch variations are encouraged), most singers recover from tension and conditions such as T
the need for medical treatment.
One helpful technique for reducing jaw tension involves gentle massage of the jaw muscles. Relaxing the jaw and tongue, holding the teeth slightly apart w
remain closed, massage the muscles along the sides of the jaw with the pads of the fingers, rubbing very gently and being careful not to push into the jaw
tension is felt below the jaw, those muscles may also be massaged. This can be done between vocal exercises or songs, or whenever the individual becomes
he or she is holding tension in or clenching the jaw. Some chiropractors and massage therapists will do work on tense jaw muscles as well as TMJ, includi
and physical manipulation with a small, hand-held activator to correct any misalignments, so a singer might be able to find someone who can help to regai
and help control the muscle sti ness.
A standard exercise for reducing either type of jaw tension (i.e., clenching or hanging the jaw too low) involves adding subtle movements of the jaw du
tasks. First, with lips apart, the singer would simulate a circular chewing motion for twenty to thirty seconds. Next, with lips closed, he or she would hum a
at the same time moving the jaw back and forth in a gentle chewing motion. Still using the lateral jaw movements experienced during chewing, the indiv
then sing a short phrase in comfortable range. (Some momentary diction distortion will unavoidably take place.) A mirror can be used to note the loosenes
as it retains its slightly circular motions. Follow this by singing the same phrase without the chewing motions. Then, introduce longer sung phrases,
chewing motions with normal articulation postures.
Next, move the jaw rapidly back and forth while speaking a single sustained vowel, being careful not to move the joints out their sockets. Wiggle the jaw sid
moment or two, then stop moving it while sustaining the vowel. Do this with various vowels. Sing a longer passage, first while simulating small chewing m
without them.
If jaw muscle sti ness is very severe due to years of holding too much tension in that area of the body, correcting this problem may take a long t
musculature has become overly developed and tense. As always, singers may need to examine their habits and perhaps deal with any underlying psyc
emotional reasons for this excessive tension.
Page 2
SINGWISE
T H R O A T, J A W , T O N G U E A N D N E C K M U S C L E T E N S I O N A N D
PA I N D U R I N G S I N G I N G - C AU S E S A N D S O LU T I O N S (PAGE 2 O
NECK (AND SHOULDER) MUSCLE TENSION
Tensions in the neck and shoulder region may significantly a ect the voice, impairing both the top and bottom extremes of a singer's range. The shortening
folds due to muscle tension tends to leave the vocal folds open and separated, rather than closed, which can create undesirable tone when one is strivi
e icient tone with a high upper end.
Numerous muscles in the neck can be a ected by tension. My readers o en mention feeling pain in the neck muscles just above the collarbone, and repo
look as though they are straining. Whenever this is the case, the sternocleidomastoid muscles are most likely those which are giving them problems. Ther
these muscles in the superficial layers of the anterior (front) portion of the neck that make the shape of a 'V', and they are primarily helpful in rotation,
extension of the head. They run from the centre of the sternum (breastbone) and the clavicle (collarbone) up to the mastoid process, a bone in the s
behind the ears. The critical carotid arteries, internal jugular veins and vagus nerves, (which supply motor function and sensation to the larynx), run dee
muscles.
The trapezius muscle may also be the culprit, or at least a co-conspirator, in neck pain. The trapezius muscle is the large, diamond-shaped muscle that is
the base of the skull in the back of the head, extends to the shoulders and shoulder blades, and attaches to the clavicle at its base. Since the trapezius mus
nerve supply with the sternocleidomastoid muscles, tension in the shoulders may be felt, as well. Tension in the shoulders can a ect the neck's abilit
relaxed during singing.
The sternocleidomastoid muscles, along with the scalene muscles - three muscles found in the side of the neck that elevate the first two ribs and tilt the
sides, and are, essentially, responsible for holding up our heads - are accessory muscles involved in breathing, and they are activated to higher levels
inhalation and phonation (the making of vocal sounds). Because these neck muscles play an important role in breathing, there will be some movement of
the singer inhales and exhales.
However, while some subtle movement is normal because of the involvement that the sternocleidomastoid and scalene muscles have in breathing
movement or tension should not be seen or felt. Remember that singing occurs while you are exhaling, so there may be a little - very little - motion there w
expelling air during singing. However, there really shouldn't be an excessive amount, and if you are feeling tension or soreness, then the movement is likely
or natural. Sometimes, these muscles move and twitch simply because we cannot hold our heads up perfectly still, and the muscles have to compens
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=ThroatJawTongueNeckTension&page=2 1/6
support any movement of our heads and necks. Again, however, if there is any detectable movement of those muscles at all, it should be very subtle (w
attempting to sing while holding your head still and in a good position).
Singers who are experiencing neck muscle tension may need to examine how they use their breath, both during singing tasks and during relaxation. Either
front of a mirror or having a vocal teacher observe them as they breathe and noting whether there is any excessive movement or evidence of tension in the
during breathing is the best place to start.
Raised veins are another sign of tension. As noted above, some important veins and arteries run through the neck muscles, and tension in the muscles is
causes those veins to pop out. You should not be seeing the veins in your neck protruding or popping out at any time, even if you are thin or if your veins ar
to the skin's surface. (That look is reminiscent of the stereotypical 'hair metal' singer who screams while singing and who damages his or her voice throug
vocal technique, but is also seen in singers of all genres who have inappropriate registration transitions or who belt.)
Also, become aware of relaxed extrinsic musculature in contrast to tense musculature (e.g., veins popping out of the neck, excessive muscle movement
etc.). Tense extrinsic muscles generally lead to tense intrinsic muscles, which ultimately lead to vocal pathology, like vocal nodes and muscle tension dysph
Moving the head a little as you sing may prevent you from holding your neck muscles too rigidly in one position for too long. However, be careful not to allo
to move into or through positions that may further increase the tension in the neck, such as poking the chin forward, while doing these exercises. Also, befo
and throughout the day - these muscles should be kept limber by doing neck rotation exercises, gently and slowly moving the neck in a full circle around its
A scalene stretch is done by placing the hands behind the lower back, lowering one shoulder then tilting the head to the opposite side, then slowly rolli
backwards until the stretch is felt. This position is held for ten to fi een seconds. The exercise would then be repeated for the other side of the neck.
Muscle relaxation can also be achieved by taking a warm bath or allowing hot shower water to fall on your neck and shoulders, applying heating pads and
shoulder massage. If neck and shoulder muscle tension are always present, the singer might benefit from regular appointments with a massage therap
massages from a partner.
Many singers have an unconscious habit of elevating their heads in order to 'reach' high notes and lowering their heads in order to reach low notes. It is al
for singers who sing into boom microphones to stretch their necks forward. All of these habits can lead to neck muscle, shoulder and throat tension. A
overly low head position presses the submandibular muscles downward on the larynx. Raising the head or stretching the neck forward - sometimes called '
doesn't encourage relaxation because the muscles of the neck are no longer in alignment with the rest of the body, and they are no longer assuming
comfortable postures. When singing (and speaking, for that matter), the head should be held neither too high nor too low, but should remain in the com
position of normal speech.
A lot of people have maladaptive postures of the neck, jaw and spine during routine tasks, such as sitting, that may undermine healthy vocal production. B
your posture throughout the day, not just while singing, as consistently poor postural habits will a ect how your muscles 'remember' their positions during
For example, slouching causes the head to stray forward and down o the shoulders - out of its normal alignment - which in turn causes the scalene
muscles to have to work much harder to hold up the approximate ten-pound weight of the head. In order to do so, these muscle groups must tighten a
Since the bottom of the scalenes also attach to the first rib located just behind the collarbone, the neck vertebrae become compressed, causing the fir
pulled upward, potentially narrowing the space available for the brachial plexus - an arrangement of nerve fibers, running from the spine through the ne
under the scalene muscles, the armpit region and then into the arm - to pass between the first rib and the collarbone. The entire nerve bundle becomes p
irritated at the neck. The scalenes may also get stuck to the covering of fascia - a thin, tight sheath of connective tissue that wraps around muscles - surro
nerve plexus. The adhesions trap and irritate the nerve bundle that brings sensation to the arm and hand, which may cause symptoms associated with tho
syndrome (but are o en confused with carpal tunnel syndrome). Whenever the head is moved, the fascia of the brachial plexus gets tugged and irritated
the scalene muscles begin to adhere to one another and then start 'sticking' to neighbouring structures as they look for support form the constant strai
strain in any part of this region of the body, then the opportunity for adhesions to form exists.
Nerves that run through our muscles carry messages from the brain to those muscles, and these nerves need a clear path in order to help the muscles b
Because of this nerve-muscle connection, and because of the importance of good posture, I strongly recommend visiting a chiropractor. A chiropractor
identify and safely correct vertebral subluxations, such as misalignments of the neck bones, that may be blocking the nerve signals to your muscles and
lungs. Also, subluxations can a ect your posture, which is important for e ective breath support and good tone during singing.
Watch that you don't extend your neck forward like a turtle - this applies even while you are just sitting at your desk or standing and having a conver
someone - or li your chin up on high notes or lower it on low notes, as this will increase the work that your neck muscles must do while singing. It can also
impact airflow. Have your vocal instructor pay close attention to your posture, particularly that of your neck, chin and lower jaw, while you are singing. O
own posture in a mirror.
If a singer incorrectly bridges his or her passaggi - the places in the scale where the singer changes vocal registers - neck muscle tension may mount. In
whenever a singer attempts to carry chest voice function upwards well past the lower passaggio, a lot of movement of the sternocleidomastoid muscles ca
detected. While the singer may not feel a great deal of strain, he or she may complain that this section of the range feels like 'work'. The tone will genera
increasingly 'shouty' and forced. If neck muscle tension seems most prominent in the middle portion of your range, just above the lower passaggio, it is p
you are carrying your natural (chest) voice up higher than it ought to go - past the spot where it should be shi ing into mixed or head voice. Your instructo
able to help you figure out if you are subjecting your voice to register abuse; that is, if you are not allowing registration changes to occur where they natural
If you are 'belting' to hit those high 'money notes', or any other note for that matter, you need to be careful. Learn the di erence between pressed or
phonation and flow phonation. Flow phonation is characterized by ease and comfort in singing throughout the entire vocal range, as well as appropria
airflow and appropriate vocal fold activity (marked by appropriate and healthy registration shi s). If you are attempting to belt out, you may be shouting
attempting to 'project' your voice, which can be a dangerous practice because it usually requires shouting (and thus subjecting the vocal folds to exces
pressure), take advantage of your proper 'placement', clear tone, e ective resonance and breath support, which will produce su icient, unforced volume
overtones present for you to be heard, and for your voice to sound impressive.
An article co-written by Kate A. Emerich, a voice pathologist and singing voice specialist, and Mary J. Sandage, Senior SLP at the University of Wisconsin V
Division of Otolaryngology (http://www.asha.org/about/publications/leader-online/archives/2002/q3/f020723.htm) reports a potential link between sinu
and acquired muscle tension dysphonia while singing. They write: "For singers with acute sinusitis or seasonal rhinitis, clogged nasal passages that
hyponasal vocal quality can prevent the sound from resonating in the sinus cavities. Many singers rely on the kinesthetic feedback from this ringing qua
that they are using proper tone. Hyponasality can hamper loudness ability, potentially leading to overuse of other muscles in the neck for increase
demands." It is possible, then, that neck muscle tension can developed over time in order to compensate for the tone production di iculties that singers
sinus problems and allergies that have not been properly treated.
Neck and shoulder problems are o en interrelated with the experience of psychological stress, which may include depression and anxiety, so it's impor
singer to stay healthy, both physically and mentally. A healthy lifestyle and good awareness and avoidance of factors a ecting the voice and singing can
preventing vocal problems.
The singer and teacher team also needs to ensure that vibrato is a natural result of good resonance, breath support and balanced tone rather than someth
singer is forcing or fabricating by making his or her muscles, jaw and/or tongue 'quiver' or shake. (I always encourage singers and their teachers to avoid
much emphasis on developing and using vibrato because it gives students the impression that they can't sound good without it and that they must make it
matter what. Having that kind of pressure is potentially dangerous for the voice because students will o en develop unhealthy ways to achieve vibrato, ma
create excess muscle tension in the neck, tongue, jaw and throat.)
TENSION IN THE SUBMANDIBULAR (BELOW THE JAW) REGION
The submandibular musculature is located immediately below the jaw and above the hyoid bone. This area is sometimes referred to as the subma
digastric triangle.
Singers who lower their chins or their jaws excessively may find that pressure is placed on the larynx by the submandibular muscles.
In some pedagogic practices, singers are encouraged to consciously expand the submandibular musculature because it is mistakenly assumed to 'open th
widen the pharynx. Conscious e orts to spread the pharyngeal wall by outward (or external) movement of the submandibular musculature fail to produ
throat and lead to an unpleasant, 'throaty' or hollow timbre. They also create tensions among muscle groups located between the mandible (jaw) and the
including the mylohyoid, geniohyoid, stylohyoid, hyoglossus and digastric muscles (the 'loop muscle', which is attached to the hyoid bone), and cause s
tongue and the muscle systems lodging the larynx. Furthermore, consciously expanding this region places the pharyngeal constrictors in positions u
freedom in singing.
During the singing and speaking of vowels, there is noticeable but limited movement of the throat wall as the external musculature di erentiates the vowe
sequence such as /i-e-a-o-u/), but there is no sustained outward distension.
In order to help release muscle tension in the submandibular area, place the tongue apex (tip) between the upper and lower teeth, with the lips closed, and
gently move the jaw back and forth while humming. At the same time, check the region below the jaw with the fingers to ensure that it is remaining so and
I N A B I L I T Y T O S I N G H I G H N O T E S W I T H O U T S T R A I N , D I S C O M F O R T O R PA I N
In both men and women, in all voice types, an inability to sing in the head register is associated with technical errors. In many cases, these technical errors
by anxiety associated with the singing of higher notes.
Most commonly, it is the result of incorrect vocal posture, including an elevated larynx, a retracted (retroflex) or flattened tongue that gets pushed back int
space, a protruding lower jaw, an excessively lowered jaw (and thus an overly opened mouth), and a chin that is either raised or lowered. It is also quite ty
singers avoiding the use of acoustically modified vowels - see vowel modification - and attempting, instead, to maintain speech-like vowel sounds in the u
or attempting to carry the lower mechanism of the voice (chest voice) up too high in the scale (past the lower passaggio). The voice inevitably begins to fee
increasingly strident and strained as the scale is ascended, and particularly as the second passaggio is reached and crossed.
My first point of focus when listening to and watching a student is vocal posture. A singer can also examine his or her own vocal posture by using a wall (or
mirror while singing, or by getting someone else, such as a choir director, vocal teacher or friend, to observe what's happening in the mouth and neck re
should look to see that the tongue is remaining arched and forward, with its tip resting gently behind the lower front teeth. This will prevent the root of
from pushing back into the throat space, creating a gag reflex and placing pressure directly on the larynx - this poor technique is o en referred to as a 'mus
Next, they should watch that the head, and specifically the ears, are positioned over the shoulders and that the chin is neither raised nor lowered. The lowe
not be allowed to push forward, but should be kept gently wrapped up and back ('collected') in its joints.
When articulating vowels in the upper middle range (the few notes preceding the upper or secondo passaggio, which marks the beginning of the head regis
should be allowed to lower comfortably (but not excessively) and create more of a vertical mouth opening as opposed to a lateral or side-to-side (speech-
shape. This will help the vowels to modify naturally, altering their acoustics and the relationship among the vowel formants to create a more pleasan
allowing the larynx to remain in a lower (not depressed, though), more relaxed position. (I have written an entire article on Singing With An Open Throat:
Shaping, which discusses these optimal vocal postures in greater detail, and another on Vowels, Vowel Formants and Vowel Modification, which provides
detail about how to successfully aid the transition into your upper register.)
Many singers, and especially males but also some females, vainly attempt to 'muscle' their way up the scale, relying on heavy use of their musculature d
range singing. Excessive muscular e ort leads to forcing (as in pressed phonation), which can be damaging to the vocal instrument. They tend to encounte
such as strain, tension, pain, discomfort, loss of tone quality, loss of voice, etc. in the area of their second passaggio as a result. This o en occurs in conju
the habit of carrying the heavier mechanism of the voice (chest voice function) all the way up to the second passaggio. Singers should never push their ch
any higher in the scale than the primo passaggio, and this includes avoiding the use of belt technique (which, though not entirely chest voice function,
heavily weighted - more thyroarytenoid dominant - than it should be in the middle register). Doing so places strain on the voice, and the voice becomes
strident and forced because the singer now has to call or shout in order to hit those notes without breaking. Knowing where one's registration transi
(passaggi) are located and being aware of the natural tendencies of the voice will help a singer to make the best choices when it comes to shi ing
appropriate places in the scale.
Singing exclusively in belt voice through the middle register will also create numerous issues with registration and range, as well as tension (since it's a high
way of singing). Belt is not typically carried above the secondo passaggio. If a singer is accustomed only to belting in the middle and upper middle range, he
not be able to adjust to the purely cricothyroid dominant muscular function that is necessary in the head register. For numerous reasons, it is best for t
cease belting and to spend some time developing appropriate middle register function and timbre - a clear, balanced tone - before the head register can be
and comfortably accessed. (Belting produces a less balanced tone in which the upper overtones or harmonic partials are favoured over the lower harmo
making the tone of belting highly 'chiaro' or bright. You may need to work on resonance balancing, also referred to as formant tuning.)
Typically, singers use extra muscular e ort in the upper middle and upper range because they feel the need to maintain speech-like sounds and vowels,
accepting the natural laws of acoustics - every vowel has its own unique acoustic needs and qualities at every pitch - and allowing their vowels to gr
naturally modify to match the pitch being sung. (This is most commonly seen in singers of contemporary genres.) Ideally, the singer should be starting
acoustical shi , adopting acoustical (modified) vowels, and getting into head voice timbre earlier in the scale - around the primo (first) passaggio for males
notes before the second passaggio for females - allowing the larynx to pivot (as opposed to rise) through adjustments of the vocal tract such as vowel modif
Also, many males do not sing in full, legitimate head voice tones, and instead sing primarily in falsetto tones in their upper range. (In my Glossary of Vocal T
written sections on both falsetto and head voice, and the di erence between the two.) Essentially, in falsetto, the vocal folds are not completely ap
(together) during phonation, and the thin edges present little resistance to breath pressure. As a result, the tone is more 'flute-like' or sometimes raspy, an
overtones. (Falsetto is widely considered to be a sound made in the upper male range that is imitative of female upper-range qualities. As the word implies
or is a departure from pure or full performance timbre.) In head voice, however, the folds are closer together during phonation, which creates more re
airflow and a greater build-up of subglottic (below the vocal folds) pressure, as well as a clearer, stronger tone that is richer in overtones. Both of these qua
within the same vocal register - within the same range of pitches - beginning at the secondo passaggio (registration pivotal point), but are not simply tw
words to describe the same thing. (When female singers leave a space between the vocal folds during singing, they merely sound breathy, raspy or gravel
standard practice to say that a female singer is singing in falsetto.)
If a male singer has only ever sung in falsetto tones above his second passaggio, he may be unaccustomed to producing a full voice with the folds elongate
and this will naturally present some technical challenges. As he ascends in pitch, the folds become increasingly stretched and thin, and present greater r
breath pressure. Many men are only able to produce falsetto tones in the upper register because they don't know how to adjust their musculature and brea
to cope with the added resistance created by more firmly adducted (closed) vocal folds. They may also become dependent on the so er onset that is prod
the vocal folds aren't completely together. Producing falsetto tones almost becomes habitual, so that the singer can't produce full head voice when h
because his musculature is no longer up for the job.
For male singers who are only able to access the head register with falsetto tones, I would make use of falsetto to gently and gradually guide them toward si
head voice tones. Ordinarily, as a starting point, I would suggest singing in upper-range one semitone at a time, starting in falsetto, then moving straight in
voice on the same note and the same breath in order to help train the folds to adjust to the increased breath pressure experienced in head voice singing. Be
so er onset that occurs in falsetto production, this exercise may help the male singer to avoid pressing the voice or forcing to produce head voice tim
gradually adjust to the sounds and sensations of head voice.
In addition to falsetto tones, whiny baby sounds may helps some students, male or female, access their head register. These sounds keep the vocal folds
little, just as in falsetto production. Many times, singers find that making these silly noises 'loosens' them up and helps them to sing higher notes with les
Also, it trains the vocal instrument to allow the natural muscular changes that produce higher pitches to occur and allows the folds to thin and elongate (
the larynx to pivot. I suggest not using these 'ugly' sounds as a prolonged training technique, however, as they may negatively a ect other aspects
technique, such as precision of onsets, breath management and tonal balance.
Many of my students have actually found that mimicking the exaggerated, stereotypical sounds of opera singers (tenors or sopranos) helps them to sin
head voice. It can be kind of fun, and takes the pressure o . More importantly, though, the modified vowels that opera singers use to produce that chara
operatic sound are actually what enables them to access their head registers, and through mimicry, students o en unwittingly end up making the ne
appropriate adjustments to their vocal tracts, too. Imitating an operatic sound, though not ideal in the long-term of vocal development because it creates a
isn't necessarily authentic to the individual instrument, may help the singer avoid the mistake of vainly attempting to retain speech-like sounds in the upp
trying to keep their words sounding just like they do in speech, which puts strain on the vocal instrument and doesn't allow the larynx to pivot properly.
that the goal in the upper extension of the range - the part of the singer's range that lies above speech level inflection - should not be to sound exactly a
during speech but, instead, to produce vowel sounds that are acoustically balanced. This means allowing the acoustics - and even the articulation, to a cer
of the vowels to modify naturally.
Another exercise that might help the singer start accessing the higher range involves using lip trills (vibrating the lips together) or tongue trills ("rolling the r
of the tongue, as in the Spanish language) while singing scales, glides and arpeggios in both an ascending and descending pattern. Trills involve less of the
and no constriction of sound or resonance within the vocal tract until either the tongue tip or lip levels, so they o en enable singers to reach higher pitche
otherwise could while articulating vowels and consonants. Trills make ideal warm-ups, too, because they quickly loosen up the entire vocal tract, are relax
technically challenging, and kick the breathing mechanism into high gear.
One exercise that I use with my students involves trilling that is immediately followed by a vowel sound. The singer begins trilling in a five-note descending
pattern (5-4-3-2-1), then immediately and without stopping or taking a breath ascends the same five-note scale (2-3-4). When the top note of the scale (5
again, the singer begins singing a vowel sound on the way back down the scale. (Tongue trilling is usually a little easier for this purpose because the lips
separated, making the vowel more easily and readily articulated.) This exercise should begin in comfortable middle range, then gradually be carried highe
middle then upper range. As always, signs of tension should be monitored.
Also, for many singers, thinking of their voice as a line in front of their face is a helpful visual tool to use. This visualization technique is typically call
placement', and although the voice can't technically be placed anywhere along the vocal tract, thinking this way o en prevents the voice from slipping b
throat. It keeps the sensation of resonance forward in the hard, bony structures of the face (sometimes called the 'mask' or 'masque'), and o en helps the s
the temptation of pushing the tongue backward and overly widening the so palate and pharynx (creating an unpleasantly hollow or 'throaty' sound). Thin
line in front of the face moving downward in an arch as pitch ascends may also help the singer to 'darken' or 'round' his or her vowels, enabling a smoothe
through the upper passaggio.
If at any point in the upper middle or upper register, your voice begins to feel tight, strained or painful to produce, or sounds 'squeaky' and pinched, it is im
you stop singing immediately and descend the scale to a place where singing is again comfortable. You're not yet ready to sing those higher notes becaus
applying correct, safe, healthy technique to those pitches. If you continue to sing those notes incorrectly, you could end up damaging your voice. In Tips Fo
Singing: A Practical Guide To Vocal Development, I have included a section on increasing vocal range that contains more advice on how to safely do so.
If you feel as though there is a particular aspect of throat, jaw, tongue and neck muscle tension that I haven't covered in this article, or if you wish to discus
of your vocal problems with me, please feel free to e-mail me, and I will be happy to provide a prompt and thorough response. Depending upon how global
feel that the particular issue is, I may also choose to create a section in this article that will contain my response so that other singers will be able to bene
information, too.
Page 1
24/2/2019 Singwise - Singwise - Anatomy of the Voice
SINGWISE
A N ATO M Y O F T H E V O I C E (PAGE 1 OF 2)
Most people don't really take any time to consider the interesting work that goes on in the body when they sing. They seem to assume that the voice jus
'appears' whenever they will it to.
Nearly everyone has probably heard expressions like 'sing from the diaphragm (or belly)' and 'support the breath (or voice)', used frequently by many singin
However, if a student doesn't understand some basic human anatomy that is related to making breath and sound, these common expressions can become
mystery.
While a teacher is an invaluable resource to a student, the student must also take responsibility for his or her own progress, which includes learning about
student of voice cannot possibly learn how to achieve greater control over his or her singing voice if he or she does not understand the physiological mec
which his or her teacher is referring. It isn't necessary to memorize all the complex parts and functions of vocal anatomy, but it is helpful to gain a general a
understanding of them. Comprehending the terminology (e.g., diaphragm, support, intercostal muscles, resonance, hard palate, placement, etc.) that a t
during lessons will help vocal students make more consistent progress.
Vocal technique is as much a science as singing is an art form. While, initially, a student may have to concentrate very hard on his or her breathing, tone pla
muscle control, these techniques will become easier, more natural and even automatic in time, making singing much more enjoyable.
T H E P H Y S I C S O F B R E AT H I N G
Needless to say, e ective breathing technique is essential to good singing. Part of the process of studying voice is
an acute awareness of the actions involved in breathing and exploring them in depth. A teacher is essential t
student gain control and thus confidence and trust in his or her own breath, and to guide him or her towar
understanding of the potential that breath carries for him or her as a performer.
The mechanism of breathing can be summarized in this way:
Receiving various signals from the nervous system, the diaphragmatic muscles contract and the diaphra
downward. As the diaphragm depresses, it creates a vacuum in the lungs and air rushes in to fill that vacuum. During exhalation, the diaphragm relaxes an
lung volume decreases, creating a positive pressure di erence, and air rushes out.
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=AnatomyOfVoice 1/4
For a more in depth look at the mechanism of breathing and how correct breathing technique enhances singing, and for some exercises to help improve h
and support your breath, read Correct Breathing For Singing.
DIAPHRAGM
The (thoracic) diaphragm is a shelf of muscle and tendon that extends across the bottom of the ribcage, dividing the torso in two. Above is the thorax (che
lungs and heart, below is the abdomen. It is dome-shaped, slightly higher on the right side, and curves up toward the centre. It features a boomerang-sha
tendon - the aponeurosis - which is connected all around by muscular fibres that originate on the lumbar spine, the bottom edge of the ribcage an
(breastbone).
The heart, which is attached to the diaphragm via its pericardium - a membrane sac that envelops the heart - moves up and down with the diaphragm.
LUNGS
The lungs are made of a so , elastic, spongy tissue. Their structure is much like an inverted tree. Air enters the lungs via the trachea (the "trunk"). T
branches in two to form the bronchi. Each bronchus continues to branch out into bronchioles until, at the end of each bronchiole, a cluster of alveoli, whic
sacs where gas exchange of carbon dioxide and oxygen takes place, is reached. The total surface of the alveoli is very large.
As the ribcage and diaphragm move, the lungs are stretched, drawing air into the lung (inhalation), or the lungs are compressed, pushing the air out (exhala
MUSCLES
Most students of voice don't consider the importance of the support structure for the voice, yet the muscles of the back and abdomen aid the diaphragm a
establishing the movements necessary for breathing.
The intercostal muscles are found between the ribs, and there are two kinds: The internal intercostal muscles (in the inside of the ribcage) extend from the
ribs, and go around the back, past the bend in the ribs. In front of the ribcage, looking from the bottom of each muscle (i.e. the top of each rib), the
diagonally inward. The external intercostal muscles (on the outside of the ribcage) wrap around from the back of the rib almost to the end of the bony part
front. They go downward and outward when viewed from the back. (At the bottom of the sternum can be seen the transversus thoracis muscle.) These mu
felt during coughing.
Having the muscles on diagonals increases the amount of work that they can do, since a longer muscle can become shorter upon contraction than ca
vertical muscle, as it contracts along the full length of the muscle fibres.
When proper diaphragmatic breathing technique is employed, and when a singer's endurance is being tested, the intercostal muscles can get a very goo
Muscle fatigue is especially common amongst new vocal students who haven't yet built up strength in these muscles and are isolating them during singing
time.
THE ABDOMINAL MUSCLES
O en mistakenly called the diaphragm by singers and by some teachers, the abdominal muscles are linked with the breath when they are used to "support
or when they stretch as the belly distends due to the action of the diaphragm.
The deepest of the abdominal muscles, the transversus abdominis, go horizontally from front to back. They are very important in respiration, and a
instrumental in forced exhalation.
The external obliques course downward and inward, and are the largest and strongest abdominal muscles. These muscles work posturally by contracting a
or twist the spine. By compressing the abdomen, these muscles create higher pressure in the abdomen and thorax (chest), essential for forced expirati
relaxing these muscles, one can allow the distention of the belly to be more free, making the action of the diaphragm more easily felt.
Sandwiched in the middle between the external obliques and the transversus abdominis are the internal obliques. Their direction is down and out, or the
the external obliques. They can be used to compress the abdomen for exhalation.
MUSCLES OF THE LOWER BACK
The muscles of the lower back are o en overlooked by those studying voice. While some of these muscles are primarily flexors of the lower limb (i.e., thigh
the quadratus lumborum serves as the equivalent muscle of exhalation to the abdominal muscles found in front. The psoas major, a long muscle on the
lumbar region of the spine and brim of the pelvis (in front of the hip joint), connects with the muscles of the diaphragm.
In terms of respiration, the quadratus lumborum can be felt to stretch most easily when the abdominals in front are contracted and one "breathes into the l
allowing the diaphragm to push the organs of the abdomen against these muscles. On contraction, they serve as muscles of exhalation. They may also hold
part of the ribs in place during inhalation, allowing the diaphragm to drop down more e ectively.
SUPPORT
Support works by contracting the abdominal muscles, creating higher pressure in the abdomen and thorax, allowing the diaphragm's relaxation (and upw
be more carefully controlled. There is less control in relaxing a muscle than there is in contracting it, so support gives performers a means of controlling the
phonation.
Today, there are two main schools of teaching about the breath, although there are many di erent approaches: "supporting" the breath by compressing th
during phonation (i.e., on the exhalation), or relaxing the abdominal muscles as much as possible during inhalation and phonation, allowing the diaphragm
the inhalation, and riding its relaxation on the outgoing breath (i.e., during phonation).
The extent to which action of the ribs is encouraged varies within most techniques, although most teachers, including myself, recommend that the u
especially the shoulder girdle, be as relaxed as possible even during the most extreme vocal demands. Ultimately, a singer wants access to all the "breath
available without jeopardizing the ability to freely produce sound, that is without unnecessary tension.
I have dedicated an entire article to Correct Breathing For Singing, also published on this site, that gives singers a more comprehensive look at ideal (dia
including appoggio) breath management techniques and incorrect and unhealthy breathing techniques, as well as practical exercises to learn better sup
tone.
Page 2
SINGWISE
A N ATO M Y O F T H E V O I C E (PAGE 2 OF 2)
THE PHYSICS OF MAKING SOUND
When air is expelled from the lungs, it rises up the trachea and runs into constriction at the larynx - where the vocal cords, now called vocal folds, are hous
the vocal folds to vibrate or buzz. This buzzing quality to the speech is called voice or voicing. The vocal folds 'chop' the air stream up into a series of rapid
create the sound. (It isn't the impact of the folds coming together that makes the sound.) This produces a fundamental tone frequency, (the lowest fre
harmonic series), accompanied by several non-harmonic overtones, (a natural resonance or vibration frequency of a sound system).
The resulting sound is modified by movements in the vocal tract, (where sound that is produced at the larynx, pharynx, and oral and nasal cavities is alte
volume of the airflow and by the degree of constriction of the vocal folds. (During speech the flow of air is relatively small because of constrictions of the voc
The vocal vibration is varied to produce intonation, (the variation of pitch to express emphasis, contrast, emotion, etc.), and tone, (the use of pitch in
distinguish words). This is accomplished by varying the pressure of the air column under the glottis, (the space between the vocal folds, located in the mi
the larynx), as well as the tension in the vocal folds themselves. These actions produce changes in the frequency of vocal-cord vibration, which ge
fundamental pitch of the voice.
R E S O N AT I O N ( V I B R AT I O N )
The buzz created by the vocal folds resonates (vibrates) the air column and this, in turn, causes the structures above and around the larynx to vibrate, as we
The parts of the body that can vibrate in harmony with the voice are o en called resonators, which include the air column and formants (see section o
below).
The following areas vibrate 'sympathetically' with the air column. The way in which each area vibrates acts as a cue to the quality of the sound created, g
motor feedback to the brain, which works in conjunction with the hearing mechanisms. The following is a list of resonators and the pitches or vocal qualitie
easily activate them:
Chest and Lower Body - low pitches and open sounds, like 'ah'
Throat - mid-range, easy speaking tone
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=AnatomyOfVoice&page=2 1/4
Mouth - upper mid-range, mid-vowels

Nasal - closed, front vowels, especially when followed by a nasal consonant such as 'n' or 'm'
Facial - high range, front vowels
Sinus - Given that there are so many sinuses, many di erent quality sounds activate them
Bones and Skull - falsetto and head voice, very high range, closed vowels.
'Placement' of the voice generally describes how the vibration of the air column interacts with these structures to accentuate or diminish the size of the fo
below). The term 'placement' indicates where one feels the augmented vibration due to the change in the relationship of the formants to areas of the body.
Extending from the larynx to the lips, the air column vibrates at a natural frequency - in much the same way that the pipes of an organ do. As the o
shortened, and thus the air column, the pitch gets higher. In speech, the rate of vibration of the vocal folds creates the fundamental frequency, or pitch o
This frequency determines the musical pitch or note that is created by vibration over the full length of the air column. The frequency (or frequencies) at w
column vibrates determines the quality of the tone.
The sound created by the vocal folds isn't a pure tone - it's complex. It is made up of the fundamental frequency, (the rate at which the folds vibrate), and a
partials, which are harmonics of the fundamental frequency, vibrating two times, three times, etc. as fast as the fundamental. The voice is made up of a s
the fundamental and these 'overtones', or formants - see below. The lowest possible frequency and such multiples form the harmonic series.
Vocal resonation is explained more fully in Good Tone Production For Singing.
FO R M A N TS
In phonetics, formants are the distinguishing or meaningful resonant frequency components of human speech and of singing. They appear in spectrogram
in the harmonic spectrum of the voice.
We distinguish between vowels - sounds in spoken language that are characterized by an open configuration of the vocal tract so that there is no bui
pressure above the glottis - by the frequency content of the vowel sounds. (This contrasts with consonants, which are characterized by a constriction or clo
or more points along the vocal tract.) Formants are the characteristic partials that identify vowels to the listener. Most of these formants are produced b
chamber' resonance.
Since the larynx closes o at the bottom during phonation, it naturally resonates at the odd numbered multiples of the fundamental. These 'standing-wave
are also known as formants. In shaping speech, the first three formants are the most important. In a way, it is as if each vowel is a 'chord', like playing
together on the piano, where the bottom note stays the same and the notes above change.
What we recognize as vowels are actually changes in the quality of the tone. Our tongues allow us to change the shape of the 'tube', specifically changin
sectional 'width' by sliding forward and back. Lip rounding essentially lengthens the tube.
If the fundamental frequency of the underlying vibration is higher than the formant frequency of the system, the character of the sound imparted by t
frequencies will be mostly lost. This is most apparent in the example of soprano opera singers, who sing high enough that their vowels become v
distinguish.
More detailed information about formants can be read in Good Tone Production For Singing, which explores formants in general, including the Singer
Singing With An 'Open Throat': Vocal Tract Shaping, which covers the topics of how formants a ect tonal balance and quality and how to encourage the
these upper harmonic partials in the voice (through formant tuning and formant tracking), and Vowels, Vowel Formants and Vowel Modification, which ex
'fingerprint' formants of specific vowel sounds.
(Control of formants is an essential component of the vocal technique known as overtone singing, in which the performer sings a low fundamental tone,
sharp resonances to select upper harmonics, giving the impression of several tones being sung at once. There are many styles of this singing technique, in
chanting of the Tibetan Monks)
P H O N AT I O N ( M A K I N G S O U N D )
Phonation refers to the use of the laryngeal system to generate sound - an audible source of acoustic energy - which can then be modified by the articulator
the rest of the vocal apparatus (see section on articulation below).
Sound is generated in the larynx - an organ in the neck involved in the protection of the trachea and in sound production. The larynx houses the vocal folds
why it is commonly referred to as the 'voice box'. It is situated just below the pharynx - the part of the neck and throat situated immediately behind the
nasal cavity and cranial, and above the esophagus, larynx and trachea (the "windpipe").
The larynx is also where pitch and volume are manipulated. The strength of expiration from the lungs contributes to loudness, and is necessary for the vo
produce speech.
Understanding the complex anatomy and physiology of the larynx is quite an undertaking. Control of the laryngeal muscles is done through a biofeedb
involving sensing and monitoring the vibration of the vocal folds through the sound and feeling that it creates. Learning to make adjustments to those
complex and slow process - one that takes a lifetime to master. Any knowledge about the structures that create those sounds and feelings can only help
appreciate and analyze what is being felt and heard. I have written a detailed article on the structure and function of the larynx itself that will provide more
how sound is generated and controlled by the laryngeal mechanism. In Singing With An 'Open Throat': Vocal Tract Shaping, a diagram of the larynx
information about the ideal position of the larynx during singing, can also be found.
A R T I C U L AT I O N ( T H E F O R M AT I O N O F S P E C I F I C S P E E C H S O U N D S )
Finally, air and vibration pass through the vocal tract and are shaped by the articulators into recognizable speech sounds.
Movable articulators are structures that can move and allow us to shape the sound, (i.e., the jaw, the lips and other facial muscles, the tongue, the so pala
movable tissue constituting the back of the roof of the mouth - and the pharynx).
Fixed articulators are those that cannot be moved by muscles, namely the hard palate and teeth. The hard palate is a thin, horizontal bony plate of the skul
the roof of the mouth, which spans the arch formed by the upper teeth. It forms a partition between the nasal passages and the mouth. (This partition i
deeper into the mouth by the so palate.)
The article entitled Singing With An 'Open Throat': Vocal Tract Shaping, also posted on this website, explains the process of articulation in greater detail, as
assuming specific articulatory postures directly a ects the tone and health of the voice.
Page 1
24/2/2019 Singwise - Singwise - The Larynx: Structure and Function
SINGWISE
THE LARYNX: STRUCTURE AND FUNCTION (PAGE 1 OF 3)
Most singers and speakers are aware of the existence of the larynx, colloquially known as the 'voice box', but understand very little about its structure and fu
the role of the vocal folds, (formerly called 'vocal cords'), in voice production and in the creation of pitch. While I don't believe that it is necessary for
memorize all the parts and functions of the individual structures within the throat - we can leave that for the medical students - I do believe that gain
understanding of how the larynx works and what the vocal folds are and do can help a student of voice achieve technical proficiency and maintain vocal hea
My intention in this section is to provide some basic information about the highly complex structure of the larynx, and how the primary structures of the l
vocal function. I'll attempt to make descriptions and explanations as succinct and as clear as possible, and focus only on the principle cartilages, jo
ligaments and muscles that help to produce the voice. However, given that the parts that make up the larynx are intricate and function in unique ways, an
scientific and/or medical terms are sometimes the best ones (or the only ones) to use when discussing human anatomy, it may be impossible to tr
everything as much as I would like to. My suggestion is that singers thoroughly read the following sections and attempt to understand and learn whatev
Again, what is most important is that the student of voice gains a glimpse into the fascinating and complex - far more complex than any other instrumen
that produces the voice and comes to develop a better appreciation for his or her built-in instrument.
A N ATO M Y O F T H E V O C A L T R A C T
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=LarynxStructureAndFunction 1/6
from the 20th U.S. edition of Gray's Anatomy of the Human Body
P O ST E R I O R V I E W O F A N T E R I O R W A L L O F L A R Y N X
Dorland's Medical Dictionary for Health Consumers. - 2007 by Saunders, an imprint of Elsevier, Inc. All rights reserved.
The vocal folds, together with the muscles and cartilages that support them, are known as the larynx.
The larynx is an organ in the neck that lies in front of the fourth, fi h, and sixth cervical vertebrae. It is situated just below where the tract of the pharynx
the neck and throat situated immediately behind the mouth and nasal cavity, and above the esophagus, larynx, and trachea) splits into the trachea (the 'w
tube that allows the passage of air into the lungs) and the esophagus (a muscular tube through which food passes from the pharynx to the stomach). T
involved in both the protection of the trachea and in the production of sound.
The upper entrance of the larynx - that which is continuous with pharynx - is a triangular opening that is narrow in front and wide behind, and slants dow
backward. The lower portion is continuous with the trachea and is circular. It is bordered in front by the epiglottis behind, by the arytenoid cartilages, the
cartilages, and the interarytenoid notch (the indentation of the posterior portion of the aditus laryngeal inlet between the two arytenoid cartilages); an
side, by the aryepiglottic fold, on the posterior part of the margin of which the cuneiform cartilages form a whitish prominence called the cuneiform tube
folds form the upper borders of the quadrangular membrane.
S PA C E S O F T H E L A R Y N X
from http://www.yorku.ca/earmstro/journey/larynx2.html
The image above shows the spaces created by the various structures of the larynx.
The first space in the larynx is called the vestibule, which is the space above the vestibular fold (false vocal fold). Just beneath the vestibular fold is the ve
shown), which extends laterally and is connected anteriorly to a small sac called the saccule (also not shown). The saccule has special cells that produce a
keep the vocal folds moist. Beneath the ventricle is the true vocal fold that extends from the vocal process of the arytenoid cartilages to the backside of
cartilage.
The larynx is connected with the pharynx by the opening or thin space between the right and le vocal folds and the arytenoid cartilages, called the glot
glottidis or rima glottides), through which air must pass in order to vocalize and breathe. The part between the arytenoid cartilages is called the interca
part (or the intercartilaginous glottis, respiratory glottis, or interarytenoid space), and the part between the vocal folds is called the intermembranous par
vocalis). The rima glottidis is closed by the lateral cricoarytenoid and arytenoid muscles, and its entrance is protected by the epiglottis.
The area below the glottis is called the infraglottic cavity (or infraglottic space). Below the infraglottic cavity is the trachea ('windpipe').
The larynx consists of four basic anatomic components: a cartilaginous skeleton, intrinsic muscles, extrinsic muscles, and a mucosal lining.
SKELETON OF THE LARYNX
S K E L E TO N O F T H E L A R Y N X ( A N T E R O L AT E R A L V I E W )
from http://home.comcast.net/~wnor/lesson11.htm
S K E L E TO N O F T H E L A R Y N X ( P O ST E R I O R V I E W )
from http://home.comcast.net/~wnor/lesson11.htm
The skeleton of the larynx is made up of the hyoid bone and several cartilages. There are nine cartilages of the larynx, three of which (the thyroid, the cric
epiglottis) are unpaired, and three of which (the arytenoids, the corniculates, and the cuneiforms) are paired. These cartilages support the larynx and form
They are connected to other structures of the head and neck through the extrinsic muscles. (The intrinsic muscles of the larynx alter the position, shape an
the vocal folds.)
The hyoid bone is a horseshoe-shaped (or U-shaped) bone situated in the anterior midline of the neck between the chin and the thyroid cartilage. At rest,
level of the base of the mandible (lower jaw) in the front and the third cervical vertebra behind. It is the only bone in the human skeleton that does not m
with, or connect to, any other bone. The hyoid bone is not technically part of the larynx, though it is connected to it - to the thyroid cartilage - by the
membrane, and is held in place by the thyroid ligaments. The hyoid bone provides attachment to the muscles of the floor of the mouth and the tongue
larynx below, and the epiglottis and pharynx behind. It allows a wider range of tongue, pharyngeal and laryngeal movements by bracing these structure
each other in order to produce variation. During swallowing, the hyoid bone elevates, (also pulling the larynx upward with it), in order to guard the entr
airway against the introduction of food and other swallowed matter.
The cartilaginous skeleton refers to the cartilage structure in and around the trachea that contains the larynx, or houses the vocal folds, (which used to b
'vocal cords'). It is comprised of the thyroid, cricoid, and arytenoid cartilages.
The thyroid cartilage is the largest of the nine cartilages that make up the laryngeal skeleton. It is attached to the hyoid bone and is made up of two plate-
(thin cartilages) that fuse on the anterior (front) side of the cartilage to form a peak, lump or protrusion called the laryngeal prominence, (otherwise kn
Adam's apple). The angle of the thyroid cartilage surrounding the larynx is usually more acute in adult males - the two laminae of the thyroid cartilage th
protrusion meet at an average of 90ï¿½in males, as opposed to 120ï¿½in females - and is therefore more pronounced. The thyroid cartilage forms the
anterior wall of the larynx, making up the body of the larynx, and serves to protect the vocal folds, which are located directly behind it. It also serves as an
for several laryngeal muscles.
The lip of the thyroid cartilage just superior to the laryngeal prominence is called the superior thyroid notch, while the notch inferior to the thyroid angle
inferior thyroid notch. Its posterior border is elongated both inferiorly and superiorly to form the superior horn of thyroid cartilage and inferior horn
cartilage. The inferior horns articulate with (connect with or come in contact with) the sides of the cricoid cartilage - see next paragraph - and form the c
joint, where the thyroid cartilage rocks back and forth, or pivots, at this point.
The cricoid cartilage is the only complete cartilaginous ring of the larynx and is the strongest of all the laryngeal cartilages. It is made of hyaline cartilage
of a slimy mass of a firm consistency, but of considerable elasticity and pearly bluish color), and can become calcified or even ossified, particularly in o
shaped like a signet ring with a broad arch (the cricoid arch) on its posterior side - where it forms a square-shaped lamina (the cricoid lamina). As it extend
form the posterior border of the larynx, it tapers anteriorly to a narrow arch. Its anterior part is called the band. The cricoid is attached to the top of trachea
tracheal ring, by the cricotracheal ligament. The cricoid cartilage provides attachments for the various muscles, cartilages, and ligaments involved in o
closing the airway and in speech production.
The epiglottis is a large, leaf-shaped flap of elastic cartilage tissue that is attached to the root of the tongue and inferiorly to the thyroid cartilage by a
During breathing, the epiglottis is pointed upward to allow air to freely enter and exit the trachea and lungs. During swallowing, however, the backward m
tongue forces the epiglottis over the laryngeal opening - it folds down into a horizontal position like a lid - to prevent swallowed material from entering the
lungs, which would produce irritation and a strong cough reflex. The larynx is also pulled upwards with the elevation of the hyoid bone to assist this process
The arytenoid cartilages are triangular (or pyramidal) pieces of mostly hyaline cartilage that sit on top of the cricoid lamina, posteriorly, and articulate
cricoarytenoid joints. The arytenoid cartilages slide and rotate on an axis at these joints. The movements that take place between the arytenoid and cricoid
that is, at the cricoarytenoid joints - include adduction (drawing together), abduction (pulling apart), anterior-posterior sliding, and medial-lateral sliding.
The triangular base of the arytenoid cartilages contains three processes: the vocal process, the muscular process, and a third process that is not well d
anterior angle of the base of the arytenoid cartilage - the medial process - is called the vocal process. It projects horizontally forward and gives attachment
ligament (vocal fold), which extends from the vocal process to the backside of the thyroid cartilage. Of the paired cartilages, the arytenoid cartilages a
important because they influence the position and tension of the vocal folds. Any movement of the arytenoid cartilage will have an e ect on the voca
making them loose or taut, bringing them together or spreading them apart). The muscular process of the arytenoids - the lateral process - lies laterally,
the muscles that act to abduct (open) or adduct (close) the vocal folds attach to it. The arytenoid cartilages are pulled towards each other (approxima
transverse arytenoid muscle.
The paired corniculate cartilages are two small conical (or horn-shaped) nodules consisting of pieces of hyaline (yellow elastic) cartilage that articulate w
(summits) of each arytenoid cartilage, and serve to prolong them posteriorly and medially. They are situated in the posterior parts of the aryepiglottic fo
sometimes fused with the arytenoid cartilages.
The paired cuneiform cartilages are small, elongated, club-shaped pieces of yellow elastic cartilage located anterior to the corniculate cartilages. On the po
of the margin of the aryepiglottic fold, just in front of the arytenoid cartilages, they form a whitish prominence on the surface of the mucous membran
cuneiform tubercle.
Page 2 Page 3
SINGWISE
INTRINSIC MUSCLES OF THE LARYNX
The muscles of the larynx consist mainly of muscles that change the opening of the glottis, as well as the tenseness of the vocal folds, thereby keeping the
during respiration or more closed during vocalization. The extrinsic muscles connect the thyroid, cricoid, and arytenoid cartilages to other structures of th
neck, while the smaller muscles within the structure of the larynx, the intrinsic muscles, move the vocal folds in reference to each other. The intrinsic mu
larynx abduct (move apart), adduct (bring together), alter vocal fold shape or change the longitudinal tension of the folds.
The cricothyroid muscle lengthens and stretches the vocal folds. It lies anterior and external to the larynx, and is part of the muscular triangle of the ne
from the cricoid cartilage and attaches to the inferior horn and lower margin of the thyroid cartilage. When it contracts, it pulls the thyroid cartilage forward
axis through the cricothyroid joint, increasing the distance between the thyroid and arytenoid cartilages and stretching and tensing the vocal fold. (The a
cricothyroid tilts the thyroid cartilage down, increasing the front-to-back distance of the larynx, and thus placing the vocal folds under increased tension. T
o en referred to as the 'laryngeal tilt' or 'rocking/pivoting the larynx', and is important in being able to sing higher pitches.) Unlike all the other muscles o
which are innervated by the recurrent laryngeal nerve (branch) of the vagus, the cricothyroid muscle is the only muscle that is supplied by the externa
branch of the vagus (superior laryngeal nerve).
The cricothyroid ligament is the larger part of the laryngeal membrane, continuing inferiorly as a median or anterior part and twin lateral ligaments. T
cricothyroid ligament is a flat band of white tissue joining the cricoid and thyroid cartilages, while the lateral cricothyroid ligament (also known as the
membrane) keeps the cricoid and thyroid from traveling too far.
The lateral cricoarytenoid muscle arises from the upper border of the cricoid cartilage and inserts into the muscular process of the arytenoid cartilages
cricoarytenoid muscles adduct and internally rotate the arytenoid cartilages to close the rima glottides (glottis).
The posterior cricoarytenoid muscles arise from the expanse of the cricoid lamina and insert into the muscular process of the arytenoid cartilages. The
adduct and externally or laterally rotate the arytenoid cartilages, causing the vocal folds to separate from one another, thus opening the rima glottidis. Th
only muscles that are capable of opening the space between (abducting) the vocal folds to allow for normal breathing. If this muscle is incapacitated on bo
in a bilateral injury to the recurrent laryngeal nerve, the inability to pull the vocal folds apart will cause di iculty in breathing.
The transverse arytenoid muscle is a single muscle that arises from the posterior surface and lateral border of one arytenoid cartilage and is insert
corresponding parts of the opposite (arytenoid) cartilage, and fills up the posterior concave surfaces of the arytenoid cartilages. The transverse arytenoid m
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=LarynxStructureAndFunction&page=2 1/4
the arytenoids toward each other when they contract, which results in adducted vocal folds. This action closes the rima glottides (the opening of the glottis
at its back part, to eliminate the posterior commissure - the point, angle, or surface where two parts join or connect - of the vocal folds.
The aryepiglottic fold (or aryepiglottis) is a fold of mucous membrane, enclosing ligamentous and muscular fibres, that extends from the side of the epig
apex of the arytenoid cartilage, forming the borders of the opening of the larynx.
Located in the upper part of the aryepiglottic fold is the aryepiglottic muscle (aryepiglotticus or recurrent laryngeal nerve of the vagus). It is attached to
border of the epiglottis and becomes the oblique arytenoid muscle, which then attaches into the arytenoid cartilage. This muscle works as a sort of pu
close the opening of the larynx when swallowing, protecting the larynx. The oblique arytenoids narrow the laryngeal inlet by constricting the distance b
arytenoid cartilages and the epiglottis. (When the aryepiglottis contracts, it causes the arytenoids to appose each other - it closes the laryngeal aditus by b
aryepiglottic folds together - and draws the epiglottis down to bring its lower half into contact with the arytenoids, thus closing the aditus.)
The thyroarytenoid muscle is a broad, thin muscle that lies parallel with and lateral to the vocal fold and extends from the lower half of the back of
cartilage to the front side of the arytenoid cartilage, to the middle cricothyroid ligament. It is variously described as being divided into the thyroarytenoid
muscle (or the thyromuscularis and the thyrovocalis), depending on the source. The thyroarytenoid muscle pulls the arytenoid cartilages forward toward
when it contracts, thereby loosening (relaxing and shortening) the vocal ligament (see below).
The fibres of the thyroarytenoid pass backward and lateralward, and are inserted into the base and anterior surface of the arytenoid cartilage. A considera
of the fibres of the thyroarytenoid are prolonged into the aryepiglottic fold, where some of them become lost, while others are continued to the ma
epiglottis. These fibres are called the thyreoepiglotticus or thyroepiglottic, and are sometimes described as a separate muscle. A few fibres extend along the
ventricle from the lateral wall of the arytenoid cartilage to the side of the epiglottis and constitute the ventricularis muscle.
The lower and deeper fibres - the fine and most medial fibres - of the thyroarytenoid muscle can be di erentiated as a triangular band originating from the
between the two laminae of the thyroid cartilage and inserted into the vocal process of the arytenoid cartilages as well as portions of the vocal ligament, a
adjacent portion of its anterior surface. This band is termed the vocalis or vocalis muscle, which lies parallel with the vocal ligament to which it is adherent
The vocalis muscle, as the name implies, is an important muscle for speech (and thus singing). The main function or action of the vocalis muscle is to ad
the tension of small segments of the vocal folds in order to vary tonal qualities and pitches of the voice. It is a sphincter of vestibule that tightens the fron
ligament near to the thyroid cartilage, thus narrowing the laryngeal inlet. It also supports the wall of the ventricle and its appendix. The vocalis muscle is
(supplied) by the recurrent laryngeal nerve.
The vocal ligaments, or inferior thyroarytenoid (thyroartenoideus internus), are two strong bands enclosed within the vocal folds. Each ligament consists
yellow elastic tissue, attached in front to the angle of the thyroid cartilage, and behind to the vocal process of the arytenoid. They are constructed from ep
tissue composed of cells that line the cavities and surfaces of structures throughout the body), but they have a few muscle fibres in them, namely the voc
Owing to the connection of the deeper portion of the thyroarytenoid with the vocal fold, this part, if acting separately, is supposed to modify the fold's el
tension, while the lateral portion rotates the arytenoid cartilage inward, and thus narrows the rima glottidis by bringing the two vocal folds together.
Various parts of the larynx are closed by connective tissue membranes, which include the cricothyroid membrane, the thyrohyoid membrane and the qu
membrane.
The cricothyroid membrane (or conus elasticus) extends from the upper margin of the cricoid cartilage and attaches to the back of the thyroid cartilage an
the arytenoid cartilage posteriorly. Its upper free margin is the vocal ligament (true vocal fold).
The thyrohyoid membrane is a tough, fibro-elastic ligament (or membrane) that connects the thyroid cartilage with the hyoid bone. It extends from t
margin (upper border) of the thyroid cartilage below and the upper margin of the posterior surface of the body and greater cornua of the hyoid bone above.
it fills the gap between the hyoid bone and the thyroid cartilage. It is pierced by the internal laryngeal nerve and superior laryngeal artery.
The quadrangular membrane is free at the top and bottom but attached posteriorly to the arytenoid cartilage and anteriorly to the side of the epiglottis. Th
margin forms the vestibular fold (false vocal fold).
EXTRINSIC MUSCLES OF THE LARYNX
The extrinsic muscles are larger muscles, located outside the larynx, that position and support the larynx. They may move the cartilages, which in turn
compress the vocal folds.
The thyrohyoid muscle is a small, quadrilateral muscle (belonging to the infrahyoid muscles group) that appears like an upward continuation of the st
muscle (next paragraph). It originates at the oblique line on the lamina of the thyroid cartilage and inserts into the inferior (lower) border of body and gr
(horn) of the hyoid bone. It depresses the hyoid and elevates the larynx.
The sternothyroid muscle is an infrahyoid muscle that originates from the posterior surface of the manubrium sterni (or episternum) and the first and
second costal cartilages (the elastic cartilages that connect the sternum - breastbone - and the ends of the ribs, and allow the chest to move during respir
insertion into the oblique line of the lamina of the thyroid cartilage. (The manubrium sterni is the broad, upper part of the sternum that articulates with t
collar bone - and the first two ribs.) This muscle is shorter and wider than the sternohyoid muscle (paragraph below), beneath which it is situated. Its n
comes from the upper cervical nerve through the cervical ansa. The sternothyroid muscle depresses the larynx and the thyroid cartilage for mastication (ch
swallowing.
The sternohyoid muscle is a thin, narrow muscle that arises from the posterior border of the medial end of the clavicle, the posterior sternoclavicular lig
the upper and posterior part of the manubrium sterni. Passing upward and medially, it is inserted by short tendinous fibres into the lower border of the
hyoid bone. The sternohyoid muscle attaches the hyoid bone to the sternum. It is one of the paired strap muscles of the infrahyoid muscles group, and
depress the hyoid bone.
Pharyngeal constrictors are muscles that serve to constrict the pharynx. When the bolus of food (a ball of chewed food matter mixed with saliva) reaches t
the elevator muscles relax, allowing the pharynx to descend. The constrictors then contract upon the bolus, and convey it downward into the esophagus (th
tube through which food passes from the pharynx to the stomach). The pharyngeal constrictors include the superior pharyngeal constrictor muscle,
pharyngeal constrictor muscle (which arises from the whole length of the upper border of the greater cornu of the hyoid bone), and the inferior constrictor
The inferior pharyngeal constrictor is the thickest of the three pharyngeal constrictors. It arises from the thyroid cartilages (from the oblique line on the
lamina from the surface behind this, nearly as far as the posterior border, and from the inferior cornu) and the sides of the cricoid cartilage (in the interval b
cricothyroid muscle in front and the articular facet of the inferior cornu of the thyroid cartilage behind). The first (and more superior) part arising from
cartilage is called the thyropharyngeal part, and the second part arising from the cricoid cartilage is called the cricopharyngeal part. From these origin
spread backward and medialward to be inserted with the muscle of the opposite side into the fibrous pharyngeal raphe - a continuous ridge of tissue th
the origin and insertion for several of the pharyngeal constrictors - in the posterior median line of the pharynx. The fibres then diverge from their origin, wit
fibres descending beneath the inferior constrictor, the middle fibres passing transversely, and the upper fibres ascending and overlapping the superior con
inferior fibres are horizontal and continuous with the circular fibres of the esophagus. The rest of the fibres ascend, increasing in obliquity, and overlap
constrictor from the lesser cornu and from the stylohyoid ligament (see below for definition).
The pharyngeal constrictors are all innervated by branches from the pharyngeal plexus (a network of nerve fibres innervating most of the palate, larynx an
and by neuronal branches from the recurrent (inferior) laryngeal nerve (a branch of the vagus nerve - tenth cranial nerve - that supplies motor function an
to the larynx).
Other extrinsic muscles associated with the larynx are the digastric, stylohyoid, mylohyoid, geniohyoid and hyoglossus muscles. These supplemental m
known as the laryngeal elevators (or the suprahyoid muscles) because they raise the larynx in the neck or support it. Some of these muscles are visible i
the tongue, as they are also extrinsic muscles of the tongue.
The digastric is a small muscle located under the jaw and extending, in a curved form, from the mastoid process (the smooth, pyramidal or cone-sh
projections at the base of the skull on each side of the head just below and behind the ears) to the symphysis menti (the midline symphysis between the tw
the mandible, or jaw) that acts to elevate the hyoid bone when it contracts. It consists of two fleshy bellies united by an intermediate rounded tendon. If
being held in place (by the infrahyoid muscles), it will tend to depress the mandible and thus open the mouth.
The stylohyoid is a slender muscle lying anterior and superior to the posterior belly of the digastric muscle. It arises from the posterior and lateral surface o
process of the temporal bone (a slender, pointed piece of bone located just below the ear that projects down and forward from the inferior surface of th
bone, and serves as an anchor point for several muscles associated with the tongue and larynx), near the base. Passing inferiorly and anteriorly, it is inser
body of the hyoid bone, at its junction with the greater cornu, and just superior the omohyoid muscle (an infrahyoid muscle located at the front of the n
from the scapula and inserted into the body of the hyoid bone, that consists of inferior and superior bellies separated by an intermediate tendon, and acts
the hyoid bone during chewing and swallowing).
The mylohyoid is a flat and triangular muscle situated immediately above the anterior belly of the digastric muscle, and running from the mandible (lowe
hyoid bone, forming the floor of the oral cavity.
The geniohyoid is a narrow muscle situated superior to the medial border of the mylohyoid muscle, and is involved in driving food from the mouth into t
and in depressing the mandible.
The hyoglossus is a thin and quadrilateral muscle that arises from the side of the body and from the whole length of the greater cornu of the hyoid bone,
almost vertically upward to enter the side of the tongue, between the styloglossus (a muscle with origin from the lower end of the styloid process, with in
the side and undersurface of the tongue, with nerve supply from the hypoglossal nerve, and whose action retracts the tongue) and longitudinalis inferio
band situated on the under surface of the tongue between the genioglossus and the hyoglossus). It depresses and retracts the tongue, making its dorsum
more convex. It is important in singing.
Page 1 Page 3
SINGWISE
MUCOSAL LINING OF THE LARYNX
The vocal apparatus consists of two pairs of mucosal folds: the vestibular folds ('false vocal cords') and the true vocal folds.
The vestibular folds are located above both sides of the glottis (the hole and the ligament itself). They are covered by respiratory epithelium, and do
muscle. They are created by the mucosa passing over the vestibular ligament. They vibrate somewhat during phonation and especially during vibr
Although they do play a role in resonance, these false folds, unlike the true vocal folds, are not actually responsible for sound production. The false voca
work with the epiglottis to create a seal so that nothing goes down the trachea (windpipe) during swallowing.
'Vocal fold' is the current term for 'vocal cord'. (Most teachers and singers use these two terms interchangeably.) The change in terminology came a
anatomy of the larynx, including the structure and function of the folds, came to be better understood by the scientific world. The folds are not a ba
suspended in the air that vibrates when it is plucked or struck, as the word 'cord' suggests. Instead, they are part of a muscle on the side of the larynx tha
with special tissues that can vibrate at a high speed. (Only its outer covering actually vibrates.) A vocal fold resembles a lip of tissue much more than a co
term 'fold' is, therefore, more accurate and preferable.
The true vocal folds are a pair of pliable shelves of tissue that stretch horizontally across the top of the larynx. They may also be described as twin infoldi
on the surface by laryngeal mucous membrane (made up of elastic and fatty tissue, or stratified squamous epithelium), which is supported deeper down
by the innermost fibres of the thyroarytenoid muscle. They are flat, triangular bands, and are pearly white in colour. Unlike the false vocal folds, the true vo
contain skeletal muscle. In most males, the vocal folds are longer and thicker and have more mass, producing a deeper pitch.
The folds are attached at the back to the vocal process of the arytenoid cartilages and to the thyroid cartilage at the front. They are enclosed within
cartilage, which is the hard structure that forms the mass in the neck known as the Adam's apple. Their outer edges are attached to muscle in the larynx
move or vibrate, while their inner edges, or margins, are free to vibrate.
Most of the muscles that act to abduct (open) or adduct (close) the vocal folds attach to the muscular process of the arytenoid cartilages. There is only one
has an abductor action on the vocal folds - the posterior cricoarytenoid muscle - although there are several that act to adduct the folds. Abduction of the
may be accomplished either by externally rotating the arytenoid cartilages on a pivot located at their base or by sliding the two arytenoid cartilages ap
Vocal fold length and tension can be controlled by rocking the thyroid cartilage forward and backward on the cricoid cartilage (either directly by con
cricothyroids or indirectly by changing the vertical position of the larynx), by manipulating the tension of the muscles within the vocal folds, and by
arytenoids forward or backward.
The vocal folds have a three-layer construction consisting of a cover called the epithelium or mucosa - (a tissue composed of cells that line the cavities and
structures throughout the body), a vocal ligament, and muscle fibre, which can shorten and bulge the folds by tightening the front part of the ligament near
cartilage. These three layers are also referred to as the superficial, intermediate and deep layers.
The cover of the folds is composed of the epithelium (mucosa), basal lamina (or basement membrane zone), and the superficial layer of the lamina propr
gel-like composition of the cover is important for creating the mucosal wave. The transition is composed of the intermediate and deep layers of the lam
The body of the vocal fold is composed of the thyroarytenoid (vocalis) muscle. This layered structure of tissues is very important for vibration of the true voc
The epithelium, (the surface 'skin' of the larynx, which is continuous with the lining of the mouth, pharynx and with the trachea below the larynx), has bee
as a thin shell, the purpose of which is to maintain the shape of the vocal fold. This epithelium is between five and twenty-five cells thick, with the mos
layer consisting of one to three cells that are lost to abrasion of the vocal folds during the closed phase of vibration (the part of the vibratory cycle when t
together during phonation). The free edge of the vibratory portion of the vocal fold, the anterior glottis, is covered with stratified squamous epithelium, an
characterised by its most superficial layer consisting of flat, scale-like cells called squamous cell. The posterior glottis is covered with pseudostratif
epithelium, an epitheleum containing simple columnar epithelial cells whose nuclei appear at di erent heights, and also possessing fine hair-like exten
cilia that wa unwanted particles out of the body. On the surfaces of the epithelial cells are microridges and microvilli, which help to spread and retain a m
on the epithelium. Lubrication of the vocal folds through adequate hydration is essential for normal phonation to avoid excessive abrasion. (Surgery of the
can disturb this layer with scar tissue, which can result in the inability of the epithelium to retain an adequate mucous coat, which will in turn impact lubric
vocal folds.)
The basal lamina, or basement membrane zone, is transitional tissue composed of two zones: the lamina lucida and lamina densa. The lamina lucida appe
density, clear zone medial to the epithelial basal cells. The lamina densa has a greater density of filaments and is adjacent to the lamina propria. The b
mainly provides physical support to the epithelim through anchoring fibres, and is essential for repair of the epithelium.
The lamina propria has three distinct layers, each with a di erent consistency: the superficial layer, which has a jelly-like substance and is close to the
intermediate layer, which is made up of an elastic, fibrous substance, and the deep layer, which is a thread-like collagenous fibre layer.
The superficial layer of the lamina propria consists of loose fibrous components and extracellular matrices - networks of non-living tissue (containin
minerals, and certain carbohydrates) that provide support to cells, performing specific functions, depending on the types of cells that they are associated
can be compared to so gelatin. This layer is also known as Reinke's space but it is not a space at all, although it is a potential space, (which would indicate
The superficial layer of the lamina propria is a structure that vibrates a great deal during phonation, and the viscoelasticity needed to support this vibrato
depends mostly on these extracellular matrices. The primary extracellular matrices of the vocal fold cover are reticular, collagenous and elastic fibres
glycoprotein and glycosaminoglycan. These fibres serve as sca olds for structural maintenance, providing tensile (tension) strength and resilience so th
folds may vibrate freely but still retain their shape.
The intermediate layer of the lamina propria is primarily made up of elastic fibres while the deep layer of the lamina propria is primarily made up of
fibres. These fibres run roughly parallel to the vocal fold edge, and these two layers of the lamina propria comprise the vocal ligament. This transition layer
structural, giving the vocal fold support as well as providing adhesion between the mucosa (cover), and the body (the thyroarytenoid or vocalis muscle).
FUNCTION OF THE LARYNX
Sound is generated in the larynx. Pitch and volume (loudness) are also manipulated at the laryngeal level.
During inhalation, the vocal folds spread apart in order to allow air into the lungs. (The muscles attached to the arytenoid cartilages control the degree o
A er inhalation, and just prior to speaking or singing, the folds are brought close together - they are approximated or closed - by adducting the arytenoid
which causes air pressure to build up beneath them. This pressure beneath the folds is refered to as subglottic (or subglottal) pressure.
This increased subglottic pressure causes the vocal folds to be pushed apart, with the inferior part of each fold leading the superior part. Air pushes throu
small space between them, the glottis, which then causes the covering of the vocal folds, known as the mucosa, to oscillate or vibrate. The vibration of the
modulates (regulates) the flow of air being expelled from the lungs, chopping up the steady stream of air into little pu s, thus generating sound. Under
conditions, this oscillation pattern will sustain itself.
The basic sound of the voice occurs by means of a phenomenon known as the venturi e ect. As air passes through a constriction (or venturi), it speeds up
a suction in its wake. This suction draws in the pliable mucosa from each vocal fold, which meet in the midline, only to be pushed aside by more air escapi
lungs. This cycle creates a repeating undulation known as the mucosal wave.
The regularity of the mucosal wave is essential to the production of good voice. A number of factors can influence the formation and maintenance of t
wave. The two main factors involve vocal fold closure and the integrity of the superficial layer of the lamina propria. Inability of the vocal folds to close su
in some cases of vocal fold paralysis (when one or both vocal folds are paralyzed), may make it impossible to create the venturi e ect, which underl
vibration. Tethered or sti mucosa resulting from a change in the lamina propria, as in a vocal fold scar, will not vibrate well or at all, regardless of th
closure. Sometimes, a large mass like a cyst, polyp or nodule (vocal node) blocks both the vocal folds from closing and the mucosa from vibrating. Irr
mucosal vibration also results in problems like hoarseness.
The frequency of the mucosal wave determines the pitch of the voice. Fine manipulation of the larynx is used to generate a source sound with a particular fu
frequency, or pitch. Pitch is altered (caused to either rise or fall) by the changing tenseness and length of the vocal folds, which can be controlled by rocking
cartilage forward and backward on the cricoid cartilage, (a mechanism known as the 'laryngeal tilt'), and by manipulating the tension of the muscles with
folds. (Increasing vocal fold tension by lengthening the folds and making them more taut produces a higher pitch.) To maintain consistent phonation and h
fold function, tension must be altered symmetrically (by both folds simultaneously and equally). These changes in pitch occur rapidly and precisely many t
speaking tasks as the speaker inflects his or her voice. Intentional and repeated patterns of pitch give rise to melody.
The volume of sound is principally a result of the pressure of the air that is blown past the vocal folds. A more forceful expulsion of air from the lung
pressure and creates a louder sound. The vocal folds must increase tension to maintain the near-closure that is needed for the venturi e ect. If they
increased air pressure will simply blow them aside and interrupt vibration, causing a cessation in sound production. This tensing of the vocal folds usua
instinctively, without conscious e ort. However, people with vocal fold paralysis or other types of vocal fold pathologies and/or weakness are o en unabl
and frequently complain of an inability to increase the volume of their voices.
This initial source sound generated in the larynx is then altered as it travels through the vocal tract, configured di erently based on the position of the t
mouth, and pharynx. The process of altering a source sound as it passes through the filter of the vocal tract, is known as articulation, which creates the ma
vowel and consonant sounds of the world's languages.
HOW PUBERTY AND AGING AFFECT THE SINGING VOICE
The age and physical development of a singer significantly impact the kind and quality of sound that is produced by the larynx, as well as how vocal instr
be approached. Every age group has its own unique needs, as I will explain in more depth in this section, and it is important for vocal teachers, singers and
take into consideration these changes that occur to the voice over time. Understanding the development of the vocal instrument will ensure that expectat
more realistic, frustration is minimized, success, (even if redefined with every stage of development), is achieved, and optimal vocal health is maintained.
In infants, the lamina propria is composed of only one layer, and there is no vocal ligament. At about four years of age, the vocal ligament begins to be
children. Between the ages of six and twelve, two layers appear in the lamina propria. By the conclusion of adolescence, the mature three-layered lamin
present.
This presence or absence of tissue layers influences a di erence in the number of vocal formants between the adult and pediatric populations becaus
vibration is a foundation for formants. For example, the voice of an adult female is three tones lower than that of a child, and has five to twelve formants
voice has only three to six vocal formants.
At birth, the length of the vocal fold is approximately six to eight millimetres. It grows to its adult length of eight to sixteen millimetres during adolescence.
The infant vocal fold is half membranous (or anterior glottis), and half cartilaginous (or posterior glottis), whereas the adult fold is approximately
membranous and two-fi hs cartilaginous.
During puberty, which typically occurs between the ages of twelve and seventeen, both the voices of males and those of females undergo change. Voic
controlled mainly by sex hormones, although the physical growth (and thus size) of the laryngeal structures does play a role, as well. The di erent hormo
between males and females create di erent kinds of changes.
Testosterone is the primary and most well-known androgen or androgenic hormone. In males, androgens are essential to male sexuality, as they stimulat
the development and maintenance of male characteristics, which includes the activity of the accessory male sex organs and development of male sec
characteristics (such as facial hair). Androgens are the most important hormones responsible for the passage of the boy-child voice to man voice, and th
irreversible. When secreted by the testes of males, testosterone will cause changes in the cartilages and musculature of the larynx for males during p
thyroid prominence or laryngeal prominence (Adam's apple) appears, the vocal folds lengthen and become rounded, and the epithelium thickens with th
of three distinct layers in the lamina propria. In muscles, they cause a hypertrophy (enlargement) of striated muscles with a reduction in the fat cells
muscles, and a reduction in the whole body fatty mass, leading to more muscle bulk.
Androgens are also the original anabolic steroids and the precursor of all estrogens, the female sex hormones. In women, androgens are secreted princi
adrenal cortex and the ovaries, and can have irreversible masculinizing e ects if present in excessively high concentrations.
For women, the actions of estrogens and progesterone produce changes in the extravascular spaces by increasing capillary permeability, which allows the
intracapillary fluids to the interstitial space as well as modification of glandular secretions.
Estrogens have a hypertrophic (enlarging) and proliferative (increasing or multiplying by cell division) e ect on mucosa by reducing the desquamating e
superficial layers.
Progesterone has an anti-proliferative (decreasing) e ect on mucosa and accelerates desquamation. It causes a menstrual-like cycle in the vocal fold epith
drying out of the mucosa with a reduction in secretions of the glandular epithelium. Progesterone has a diuretic (drying out by inhibiting the body's a
absorb fluid, which leads to a retention of water in the urine and mild dehydration) e ect and decreases capillary permeability, thus trapping the extracellu
of the capillaries and causing tissue congestion. This cyclical hormonal change causing a drying out of the vocal instrument explains why some women n
changes in their voice quality during their menstrual cycles. Some professional female opera singers even schedule performances around their cycles so th
o er their audiences the best performance possible and so that they don't risk damaging their voices when there is insu icient moisture or lubrication for
function optimally.
The thyroid hormones also a ect dynamic function of the vocal folds. (Hashimoto's Thyroiditis, for example, a ects the fluid balance in the vocal folds).
In females during puberty, the thyroarytenoid muscle thickens slightly, but remains very supple and narrow. The squamous mucosa, (an epithelium chara
its most superficial layer consisting of flat, scale-like cells called squamous cell), also di erentiates into three distinct layers (the lamina propria) on the free
vocal folds. The subglottic (below the glottis) and supraglottic (above the glottis) glandular mucosa become dependent on estrogens and progesterone hor
As humans age, there is a steady increase in the elastin (a yellow scleroprotein, the essential constituent of the elastic connective tissue) content of the lam
resulting in a decrease in the ability of the lamina propria to expand caused by cross-branching of the elastin fibres. Among other things, this leads to the m
being better suited to the rigors of opera.
In old age, there is a thinning in the superficial layer of the lamina propria. In aging, the vocal fold undergoes considerable sex-specific changes. In the fem
the vocal fold cover thickens. The superficial layer of the lamina propria loses density as it becomes more edematous (inflammed or marked by e
intermediate layer of the lamina propria tends to atrophy only in men. The deep layer of the lamina propria of the male vocal fold thickens because o
collagen deposits. The vocalis muscle atrophies in both men and women. However, the majority of elderly patients with voice disorders have disease
associated with aging rather than physiologic aging alone.
Page 1 Page 2
SINGWISE
A major goal of serious students of voice is to learn how to produce smooth, even, fully resonant, pleasant tone throughout the range.
Ideal tone is a complex product of breath control, vocal fold function, position of the larynx, tongue, nose, and so palate, as well as use of resonance in th
throat cavities, (amongst other functions of the vocal apparatus). Beyond these 'basics', there are many other nuances and intricacies of tone, such as col
registration, etc., that are best developed with some professional, expert guidance. Tone is far too complicated for me to treat in depth in this article,
complicated to learn by merely reading suggestions and advice from others on the internet.
I strongly recommend that you find a knowledgeable, experienced voice instructor who will teach you correct singing technique and improve your overall t
a technique instructor who will focus a great deal on your tone development over a vocal coach who will likely spend more time on having you sing songs t
developing your technical skills. (Read my article Vocal Coaching or Vocal Technique Instruction? to learn more about the di erence between these tw
teaching.) Working with a vocal instructor who is highly knowledgeable about the science of singing will help you to gain a better understanding of how
body to produce a desirable, 'perfect' tone. Furthermore, with some help, you can become aware of and eliminate tone production errors, and thus imp
control, stamina, vocal agility, volume, range and vocal health as a result.
The following subsections will address topics ranging from common technical errors that produce poor tone, why they occur and how to correct them to f
vocal resonance to why our voices all sound di erent to the role of breathing in tone production to register blending to exercises that will help a beginn
learn to feel and hear correct tonal balance in the voice. (Again, I can't emphasize enough the inherent inadequacy of this article to help a singer create bal
It is merely intended to provide some information to help guide a singer to a better understanding of his or her voice. A singer who is truly serious about
great vocal tone should study vocal technique with a competent, knowledgeable instructor.)
This article is intended to go in tandem with the Singing With An Open Throat: Vocal Tract Shaping article soon to appear on this same site, which will ad
aspects of tone creation, such as ideal positions of the tongue, jaw, lips, so palate, larynx, etc. and the acoustical science of formants, which add warmth a
to the singing voice.
COMMON TONE PRODUCTION ERRORS
Although there are numerous undesirable colours and 'shades' of tone, (such as 'pinched', 'sharp-' or 'shrill-sounding', 'flat-sounding', 'shaky', 'thin', etc
divide the most common tone production errors into three general categories: breathy, nasally and throaty. In this article, I have also included a fourth tone
error, pressed phonation, because it is also relatively common amongst untrained or incorrectly trained singers. Each of these errors in sound or tone pro
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=GoodToneProductionForSinging 1/6
product of poor singing technique and results in a failure to create optimal resonance, which is an important part of good singing. These faulty tones
hamper loudness ability and limit range, control, stamina and volume. Furthermore, since improper tone production is created through improper use
apparatus, it can also lead to vocal fatigue, strain or injury.
In some cases these tone production weaknesses may indicate the presence of a medical condition (e.g., vocal fold dysfunction or other glottal incompe
that is preventing the vocal apparatus from functioning optimally. It is always in the singer's best interest to have a doctor examine his or her vocal tract in c
the singer finds that he or she is unable to make improvements in singing tone a er a reasonable length of time working with a qualified vocal instructo
persistent pain or discomfort is present during either singing or speech. A correct diagnosis and proper treatment of such medical concerns can save the
(further) injury, and save the singer from years of frustration and discouragement when he or she remains unable to produce desirable tone.
It is important to understand that many singers may demonstrate these tone production errors only at certain times, in certain places within their range
vowels or at certain pitches. Also, the voices of some singers may be described in more than one way. For example, some singers are both nasally at points
at other times during a song.
B R E AT H I N E S S : T H E 'A I R Y ' V O I C E
Breathiness is by far the most common tonal weakness that I encounter in my teaching, and most predominantly among my female students of all age
numerous explanations for why breathiness occurs in a singing or speaking voice, and I will explain them in the paragraphs below. Many singers are not a
breathiness that is present in their voices, nor of its undesirability and ine iciency, until it is pointed out to them and until they become aware of what goo
resonance should sound and feel like.
A 'breathy' quality or an 'airy' tone can be heard as an audible passing or 'leaking' of air through the mouth while singing, almost like the faint sound of air
of a tire or balloon. It is o en described as an 'unfocused sound or tone', and tends to create a di use and wispy sound, or a raspy, scratchy vocal quality (e
case of ex-president Bill Clinton's speaking voice). This mode of phonation, when habitually used, is also termed hypofunctional.
During inhalation, the vocal folds come apart to allow air to enter the lungs. Directly a er inhalation and immediately prior to phonation (or singing, for o
here), however, the vocal folds need to come together gently and firmly with the aid of the laryngeal muscles. This closure cuts o the escaping air. W
pressure in the trachea rises as a result of this closure, the folds above it are blown apart, while the vocal processes of the arytenoid cartilages - a pa
pyramid-shaped (three-sided) cartilages that form part of the larynx, to which the vocal folds are attached - remain in apposition (side by side). This cre
shaped gap between the folds and some air escapes, lowering the pressure inside the trachea. Rhythmic repetition of this movement, a certain numbe
second, creates a pitched note. Ideally, the vocal folds should contact each other completely during each vibration, fully closing the gap between them.
In order to oscillate, or vibrate, the vocal folds need to be brought near enough together - this is known as vocal fold closure or approximation - so that
builds up beneath the larynx . This increased subglottal - the area below the glottis, or larynx - pressure causes the folds to vibrate and make sound. The
the vocal folds modulates (regulates) the flow of air being expelled from the lungs during phonation.
When the vocal folds fail to close completely before singing, however, breathiness results. In other words, a breathy style of singing is achieved by holdin
folds apart. In breathy phonation, there is insu icient resistance by the vocal folds to the air that sets them into vibration. As a result, airflow escapes the g
the quasi-closed phase, which generates noise and produces a strong fundamental.
Poor approximation (closure) of the vocal folds explains much of the breathiness that I encounter in my teaching, especially in my young female studen
o en need help developing a good onset of sound or attack at the start of a sung phrase.
Many untrained and self-conscious singers produce this tone in order to so en the edges of their voices so that they don't sound as loud. O entimes, ne
who have never taken lessons before are extremely nervous when they first meet me - a trained, professional singer - assuming that I will critique them hars
fun of them for their less-than-perfect singing voices. They then produce a very quiet, conservative, airy sound while singing in front of me. In some cases,
self-consciousness becomes most pronounced during puberty, a time during which young students must contend with an inconsistency in their ch
maturing voices and must come to accept and embrace a newly emerging adult voice that sounds di erent than what they have grown accustomed
themselves produce. The voice is a significant part of who we are as individuals, and if we don't feel as though what we have to share is worthy of bein
others, we may produce a non-projective, quiet singing or speaking voice. Sometimes improvements happen immediately, once the student bec
comfortable singing in front of me, but most of the time, it takes some work to help them get past their psychological hang-ups so that we can clean up thei
O en there may be certain sections of a singer's range, or certain notes, that seem to come out particularly breathy or unclear. Sometimes this faulty to
around pivotal registration points or only within certain registers. Most o en, breathiness in untrained males occurs in head voice, as these students either
hurting themselves by singing above speech-inflection range and hold back on breath energy to reduce volume and strain or are simply unaccustomed
themselves sing in higher pitches and substitute a breathy falsetto-type voice for legitimate full voice. In young untrained females, breathiness o en em
middle register because they tend to relax their breath support and reduce their breath energy in this range where they are more comfortable singing t
because of underdevelopment of this range. In untrained females who have passed puberty, breathiness o en occurs in head voice because they f
appropriate vowel modifications and then produce a 'spread' vowel sound rather than experiencing the necessary 'narrowing' of the vowels that woul
enable them to maintain a clear, free tone in the upper register. In lighter- or higher-voiced females, I sometimes notice a lack of focus in the tone when they
at the bottom of their chest or natural voice ranges. (The bottom extreme of a singer's range is impaired by breathiness because the marked shortening
folds tends to set the folds apart and create a bulging mass within the vocal folds.) These women tend to produce a vocal fry-type mode of phonation, w
damaging to the voice if used excessively. In all of these cases, improvement in vocal technique corrects the problem of breathiness in the voice.
Many singers struggle to maintain clarity in their tone only while singing certain vowels. More closed vowels - ones in which the tongue is positioned close
of the mouth - such as the [e] and [i], tend to give many students problems because, while attempting to add openness to the vowel to prevent it from sou
or squeezed, singers o en end up spreading the vowel. For others, more open vowels - ones in which the tongue is in a low position - such as [a], see
breathiness. Front or back vowels, as well as vowels that are either rounded or unrounded, may also be more or less problematic for certain singers. M
seem to have di iculties with at least one vowel when they first walk into my studio, and the reasons for these problems are o en easy to pinpoint but pa
correct. In most cases, articulation of vowels and vocal tract shaping are what need to be addressed and corrected, and old habits are o en hard to break.
Insu icient breath energy accounts for the rest of the breathiness that I hear in my students' voices. O en new students assume an overly relaxed postur
use good support of their breath. They need to learn how to manage their airflow by balancing the resistance provided by the expansion of the intercost
and the controlled rise of the diaphragm (see Appoggio in Correct Breathing For Singing). When trying to eliminate a breathy tone, many singers will attem
the sound out in order to get more volume, pushing instead of supporting the voice, which only masks the problem and creates tension in the neck an
muscles and an unsteady flow of air. Thinking in terms of 'allowing' or 'letting' more air out, rather than 'pushing' more air out sometimes makes a
di erence both psychologically and physically. The notion of letting more air out o en helps a student to relax and control the breathing mechanism better
optimal balance of muscular involvement that needs to be achieved for singing. A singer must remain neither too relaxed, nor too tense. Once suppor
breathiness generally lessens.
Some students produce breathy tones only when descending in pitch. They tend to relax their breath energy because the pitch demands are not as
downward on a scale. The laryngeal muscles may also become lax.
Some singers find that physical fatigue from inadequate rest makes it impossible for them to find the energy needed to support their voices and coor
bodies well enough to produce a clear tone. Better sleeping habits tend to immediately improve this kind of breathy tone production.
Insu icient hydration (dryness) can also temporarily create a breathy tone in a singer's voice, as the vocal folds do not function optimally when they lac
moisture for lubrication.
Some singers use a breathy tone in an e ort to imitate the vocal stylings of their favourite singers. If the students' vocal role models are singers like Britney
Mariah Carey, who employ breathy, raspy, scratchy sounds for artistic e ect, they may, either consciously or unconsciously, adopt the same tonal quality a
viewing it as both desirable and marketable. Emulating or learning to sing in the same fashion as their idols encourages the development of poor techn
potentially detrimental to the vocal apparatus. It may take months or years to help students understand why this tone is undesirable and to unlearn thes
habits.
Of course, there is a place within contemporary music where breathiness may be acceptable. This e ect, when intentionally but sparingly used, can
thoughtfulness, sweetness, drama, sexiness and intimacy to a song, and can be an intentional e ect to increase artistry.
However, many of these famous singers are unable to produce a clean, focused tone due to poor singing technique. They sing each song on their CDs wi
unfocused tone. If this is the only way in which a singer is able to sing, then he or she lacks good technique and should not be considered an ideal vocal m
she may make a good living with this style of sound production, but success and popularity are not necessarily synonymous with vocal talent, corre
healthiness, and students of voice should be cautioned to avoid imitating these tones. Just because a singer may have a pleasing, albeit breathy, tone, doe
that he or she is singing well or correctly, and it doesn't mean that he or she isn't being limited by this tone production choice, if indeed it is a choice. Again,
not be the only way in which a singer is able to sing.
Prepubescent girls and those who are in their early teens may not be able to fully eliminate breathiness from their voices, as there may be a physiologic
explanation for this tone - the mutational chink - that will require maturation to make disappear completely. Although I tread lightly with the voices
students, it is possible to safely and gently help to improve the singing tone of these maturing voices, in spite of the mutational chink phenomenon, since
breathiness is also attributable to improper singing technique, including inadequate breath support and energy and poor attacks or onsets of sound.
Using gentle glottal onsets, achieved by singing notes in staccato, twang and energized whining (like a baby) in the upper middle and upper range may b
Some teachers find that lip and tongue-tip trills help to even out breathy (as well as pressed) phonation. Also, forward consonants, like 'b' and 'v', may h
resonance or tone during onset/staccato exercises. Eventually, once tone clears up, these consonants can be removed from the exercises. Using fr
particularly the [i] and [e] is generally not recommended for young female voices because they force a firmer adduction (closure) of the vocal folds and thus
pressure on the young instrument. However, in order to produce a balanced training of the voice, these vowels, which occur regularly in both speaking a
should not be altogether neglected, even by the young singing voice.
I have had success with removing much of the breathiness in the middle registers of some of my young female students by having them make excited stat
'Whoo hoo!' and 'Oh no!' in a range of pitches that would fall within their upper middle register. From these exercises, I will o en move onto having the y
say a variety of English words, formed with di erent vowel sounds, at specific pitches. (They always seem surprised that this 'pitched talking' sounds a lot
but doesn't feel as di icult!) Once these students begin to become aware of the mechanism that maintains clarity of tone during speech at these hig
inflection pitches - they can invariably produce a clear 'calling' voice, which suggests to me that the problem of breathiness is o en more a matter of psyc
biology - they almost immediately find it easier to produce the same clear tone during the extended vowels of singing. Sometimes just seeing how the vowe
train with during their lessons are applicable to the singing of songs (i.e., with consonants added to create meaningful words) helps them to make the
connection.
Breathy tones in young singers may also be caused in part by their growing bodies. There tends to be a fair bit of inconsistency in their placement - where
their tone - because growth, including that of the vocal apparatus, may occur rapidly. One week, placement works, and the following week, it does
millimetre of growth in the larynx can significantly a ect the voice. O en the simplest methods of achieving good tone and placing resonance in the mask
(the bony structure of the face), such as humming and the use of more resonant consonants, are the most successful ones with this age group. Once
adolescents are beyond puberty, the problem with inconsistency generally disappears.
Additionally, young singers o en lack coordination between their body alignment, the actuator (the lungs and breathing system), the vibrator (the vocal fo
resonator (the vocal tract). As they gain better awareness of their postural balance, their breathing becomes more e icient, which in turn helps them to p
resonate more e iciently.
Incorrect placement or focus of resonance also contributes to breathiness in students whose voices have already matured. (Some teachers dislike usin
'placement' to describe where and how singers focus the resonance of their voices because it is both subjective and inaccurate in the sense that tone can't
consciously placed. However, I tend to find that it creates positive mental images for most of my students, and helps them to e ectively balance their ton
vowel at each pitch.) Even with a mild sensation of resonance in the resonating cavities of the head and throat, a singer's tone may still not be clear,
e icient. Making some minor adjustments will enable the singer to notice a decrease in breathiness as well as an increase in resonance, and thus a natura
volume, airflow and stamina.
Many students have other vocal habits that create impediments to clear, e icient vocal tone. These practices in singing involve the closing of the throat, i
the tongue, the lowering of the so palate, and poor vowel formation (bad articulation that changes the natural timbre. I am currently writing an articl
entirely to the concept of the open throat and on the ideal positions and shaping of the vocal tract during singing, which will be posted soon.
Certain medical problems, such as vocal fold dysfunctions, can interfere with vocal fold closure. Polyps, cysts and nodes (nodules) are some of the mo
medical hindrances to good, clear tone production.
Breathiness is not considered to be an ideal mode of phonation because it distorts vocal resonance, robbing the voice of its full overtones. The breathy voi
lacks the beautiful 'ring' that is commonly heard in trained voices, and volume is lost because of the imbalanced resonance.
Moreover, because the air escapes rapidly through the gap between the vocal folds, the lungs empty quickly, and the sound is of short duration. In o
breathy singers tends to have less endurance and are unable to sing long vocal phrases or sustain notes for several measures because they run out of
quickly. Because the supply of breath has to be renewed so frequently, the singer's respiration also tends to be short and unsteady.
Breathiness is not a poor tonal quality merely because certain voice instructors say that it is. It isn't merely a matter of acoustical preference or personal ta
proves that it is also an unhealthy and abusive one. Voice scientist and teacher Dr. Barbara Mathis did research with fiberoptic cameras that revealed that sin
breathy tone causes the vocal folds to turn more and more red and the vocal lips to swell to almost twice their normal thickness. This extra swelling of th
lead to vocal fatigue, inability to get through vocal performances and other injury, such as vocal nodes. (Former president Bill Clinton is a perfect example
who has su ered vocal fatigue due to having a breathy tone.) Although it is scientifically proven that breathy singing is damaging to the voice, many
teachers continue to teach this technique as a way of 'lightening the voice'.
Holding the vocal folds apart creates muscle tension in the neck that can severely impair singing. Sometimes an improper head and neck alignment can m
di icult, resulting in a breathy sound due to compensating muscle involvement. The head and neck must be in alignment and must remain relaxed dur
regardless of intensity or tessitura.
When singers have been singing a certain way, with a certain tone, all their lives, they become very comfortable with the sound that they produce. It feels
sounds familiar. Not one of my students has been aware of the breathiness in his or her voice until it has been pointed out to him or her during early less
untrained singers don't know what to listen for, and they have become accustomed to hearing their voices inside their heads sounding a certain way.
It is the conscientious student of voice, however, who learns to listen analytically to the quality of the tone, judges the sensations produced in th
understands where changes and improvements ought to be made. (Many of my students respond best to a mixture of scientific information and subjective
physiological responses.) Once a singer becomes aware of both the internal sound and the physical sensations of e ective resonance, significant progress
of tone production, agility and breath control begins to be made.
As mentioned above, breathiness is characterized by the audible sound of air 'leaking' from the lungs. Ideally, the vocal folds will provide the correct
resistance so that only the amount of air needed to produce sound at the desired pitch and dynamic level escapes at any given moment.
If you are unable to determine simply by listening to yourself sing whether or not your tone is breathy, there are a couple really simple self-monitoring tric
can try. First, sing a single note on the vowel [a], (pronounced 'ah'), with your hand placed in front of your mouth and nose, about an inch away. If you
breath hitting your palm, then you are likely producing a breathy tone, and using up your air too quickly. (Some air necessarily escapes from your mouth, b
be minimal.) Try singing all five pure Italian vowels ([e]/'ay' without the 'y' at the end, [i]/'eeh', [a]/'ah', [o]/'oh', [u]/'ooh'), as some vowels may presen
challenge for you to maintain good tone production while singing them.
A centuries old exercise for checking on airflow levels is the breath management candle test. Sing a vowel with a candle flame placed about five inch
mouth. In breathy singers, the flame will flutter wildly, whereas in singers with more e icient tone (e.g., with good vocal fold closure and breath control)
flame will waver very little. Of course, there are inherent weaknesses to this test, as the room in which the candle is burning needs to be free of dra s and m
A more e ective test for breathy phonation than either the palm-of-the-hand or the candle-flame methods of self-monitoring involves placing a hand mir
the mouth while singing. If there is a lot of breath condensation on the mirror, the tone production is breathy. A clean production, free of a high rate of ai
will show reduced condensation. (Avoid the use of non-voiced consonants for this test because they register high levels of airflow.)
24/2/2019 Singwise - Singwise - Singing In the Upper Range
SINGWISE
SINGING IN THE UPPER RANGE (PAGE 6 OF 6)
M A I N TA I N I N G T H E ' O P E N T H R O AT ' I N T H E U P P E R R E G I S T E R
To properly prepare the vocal tract for phonating, the singer must achieve quiet, deep inhalation in which the so palate elevates, the pharynx dilates, an
lowers naturally and comfortably. Some describe this posture as the feeling of the 'incipient' yawn (the beginning of a yawn, but not taken to the extre
yawn, which would flatten the tongue and depress the larynx, making for a falsely darkened sound). So long as the singer doesn't su er from extreme hy
and tensions, this vocal tract set up is easy enough to achieve. Maintaining it during the sung note or phrase, however, is more challenging. Many s
tendencies to push and/or to squeeze in the upper range. The squeeze reflex is greatly influenced by the singer's thoughts and feelings about singing h
(e.g., fear of cracking or 'breaking,' not liking his/her tone in the upper register, etc.). It's described as a reflex because a er a while, the body develops musc
and so every time the singer prepares to sing a given note or within a given part of the range, his/her muscles automatically behave in the manner in whic
trained to. This behaviour will continually be reinforced, and this squeeze reflex will become stronger, until the singer consciously makes changes. The sque
ultimately eliminated through proper set-up of the vocal tract (part of pre-phonatory tuning), finding a better balance of subglottal breath pressures
closure at the onset of sound, and growing in confidence through technical security.
Mental imagery (that is clear and does not impeded natural function) is o en a useful tool for helping to reshape the singer's attitude toward singing
Concepts such as 'inhalare la voce' (to 'inhale the voice') are helpful. Instead of merely preparing the vocal tract, then almost immediately activating the
squeezing reflexes, the singer thinks of the voice as 'coming into' him/her, rather than being pushed out of him/her. He/she maintains the feeling (and thus
deep inhalation throughout the sung phrase, which prevents the throat from 'closing.'
Thinking of (mentally envisioning) pitch as a horizontal (rather than vertical) phenomenon is o en beneficial, as well. When the singer thinks 'up,' the lary
follow suit, as do the shoulders, chin, and parts of the face (e.g., the corners of the mouth retract, the eyebrows rise, etc.). I find the thinking 'down' as pi
eliminates these kinds of movements choreographed to pitch and encourages a natural depth of vowel and an opening of the authentic resonating s
singers gesture downward with their hands, while others slightly bend their knees with higher pitch to counter the tendency to raise everything along w
always like to envision the voice as a line in front of the face that smoothly arcs downward as I slide up in pitch.
The traditional definition of the 'open throat' entails a comfortably low larynx, a dilated (wide) pharynx (which implies a higher, more fronted tongue p
typically occurs in speech), and an elevated so palate (which tends to yield a more characteristically classical timbre). The following exercises are goi
development and maintenance of this posture - what Ingo Titze calls a convergent resonator shape, or inverted megaphone shape. Remember that be
singers tend to raise F1 through laryngeal elevation and pharyngeal narrowing, as well as by lowering the jaw and retracting the corners of the mouth
supported by numerous studies by scientists, including Ingo Titze and Johan Sundberg, as well as by voice researchers and teachers such as Kenneth Bo
Donald G. Miller - the divergent resonator shape or 'megaphone' resonator shape (characteristically CCM vocal tract posture) does not represent an 'ope
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=TheUpperRange&page=6 1/3
this traditional definition. There is, of course, a significant di erence between 'narrowed' and 'constricted.' Skillful CCM singing allows for a narrowing o
(pharynx) and rising of the larynx that do not lead to sensations of narrowness or constriction. The throat feels relatively 'open' and free of unnecessary tens
Exercise 19: Deep Inhalation
Practising deep, quiet inhalation is a way to silently train the vocal tract to respond to reshaping. Breathing through the nose will encourage the tongu
higher - resting along the anterior pharyngeal wall and lining the hard palate - and will also warm, moisten, and filter the air before it reaches the vocal trac
However, inhalation through the mouth encourages a better stretch of the so palate (which is necessarily down during nose breathing to open the velo
port). I've seen this silent inhalation practice work very e ectively for singers with low so palate issues, as it gradually releases the tensor muscles that
so palate from 'doming' properly.
Exercise 20 (Classical Head Voice): [u]-slide-[u] on 1-slide-3-slide-1
Beginning below the lower passaggio (perhaps E3 for males and D4 for females), the singer begins with a deep, 'open-throated' inhalation and mentally pr
warm [u] vowel as it forms in the throat. As he/she begins to sing the exercise, he/she must resist the desire to push his/her voice out, thereby closing
He/she establishes a warm, rounded, balanced [u] on the root note (1), then slides to the third (3) without allowing the vowel to thin or brighten, then back
root note. The warmth, roundedness, and depth of the vowel comes from the open resonance space, not from falsely darkening the timbre (especia
depression of the larynx by employing the tongue root). This exercise helps maintain a low, stable larynx by allowing the thyroid cartilage to pivot/rock in
range, thus countering its tendency to want to rise and cause a narrowing of the pharynx. It's more beneficial to think in terms of maintaining a consisten
from the root to the third than to focus on consciously manipulating the height of the larynx, which may lead to a depressed larynx and vocal strain.
This exercise also encourages an easier and earlier 'turning over' of the vowels because when the larynx remains stable and comfortably low, all the form
and thus the vowels turn over slightly sooner. The [u] is also used because it 'turns over' early.) The singer will notice that as the vowel moves through its 't
point, it starts to passively modify. The consistent laryngeal position and pharyngeal expansion tend to yield a neutral [ ] ('uh') or [ ] (as in 'good') in behin
being sung with the tongue and lips (the original vowel).
Many singers find that they experience a bit of a 'tug of war' between the suprahyoid ('swallowing') muscles and the infrahyoid ('inhale') muscles that pu
up and down, respectively. This will exhibit itself as a bit of instability in the sound as the weaker infrahyoids attempt to stabilize the larynx. Although dis
this is normal and temporary, and is an encouraging sign that means a better balance is being achieved. In time, stability will come. However, if the squ
pushing reflexes are deeply entrained in the singer's technique and muscle memory, they will require a great deal of time and patience to eliminate. Don't r
squeeze reflex by continuing to sing higher once it's activated. Instead, move back down in pitch and begin gradually growing the range in which you can m
depth of timbre and 'open throat.'
Note: Laryngeal height is individual and relative. Depending on the individual's anatomy, the larynx may be naturally positioned higher or lower in the
are also varying degrees of 'low,' ranging from depressed to comfortably low to neutral (speech level/height). In terms of laryngeal height, 'acceptable' or '
dependent upon the vocal situation. To determine what degree of 'low' is right, the singer must feel and listen.
Exercise 21 (Classical Head Voice): [u]-slide-[u- -e-i-o-u]-slide-[u] on 1-slide-3-3-3-3-3-3-slide-1
Once Exercise 20 can be performed with a consistency of timbre and laryngeal height, other vowels can be sung on the third of the scale. The singer shou
the warm, rounded [u] first, slide up on this [u], change vowels (without 'mouthing,' over articulating, or exaggerating the di erences between the vowel
without losing the 'line' in the voice (consistent 'ring,' resonance balance, and airflow), then return to the [u] before sliding down on this vowel.
Exercise 22 (Classical Head Voice): Low Larynx Exercise 1-3-5-8-8-8-8-5-3-1 on 'buh,' 'guh' or 'mum'
Early in my teaching career, I was not a fan of the 'dopey,' low larynx exercises o en prescribed to singing students because, (in addition to their prod
overly darkened sounds), in singers with very strong swallowing (laryngeal elevation or squeezing) reflexes, consciously forcing a habitually high larynx to
can easily lead to strain. In the tug-of-war between the strong, frequently used swallowing muscles and the weaker, infrequently used infrahyoid muscles -
don't inhale as deeply during speech or at rest, the larynx doesn't lower as much - the suprahyoids will always win. They need to be gently and gradually
during singing. That being said, for singers will only slight laryngeal elevation and without a tendency to 'muscle' and squeeze, low larynx exercises can be
do not recommend these kinds of exercises for singers with strong swallow reflexes.)
In contrast to how this exercise is usually performed, the singer should focus not on lowering the larynx and falsely darkening his/her timbre, but on achi
and roundedness in the vowel through maintaining the posture of the throat achieved at the time of deep inhalation. The singer must be very careful to
he/she does not force the larynx down (depress it) with tongue flattening and/or retraction and/or narrowing. Before each repetition of the exercise, he
'reset' his/her vocal tract with a deep, 'open-throated,' quiet preparatory inhalation - that is, he/she needs to 'recalibrate' the vocal tract at each breath ren
it might help for him/her to think about the concept of 'inhaling the voice' as he/she vocalizes to avoid pushing on the higher notes and activating the push
Exercises 2 and 3, the vowel should be allowed to modify passively as the stable larynx stabilizes the position of the formants. If it modifies too soon, it m
that the larynx is rising. Laryngeal height can be monitored by gently placing a two or three fingers on the thyroid cartilage (Adam's apple). The thyrohyoid
space between the Adam's apple and the hyoid bone) should not be loose and open, but also should not become smaller and sti . Its size di ers between
However, any changes in its size could indicate residual tensions from activation of the swallowing muscles.
Stabilizing the larynx may take time. It will entail a study of breath management and vowel modification.
Page 1 Page 2 Page 3 Page 4 Page 5
SINGWISE
DYNAMIC APPROACH TO THE SCALE
While the supraglottal vocal tract is making adjustments for pitch (i.e., vowel modification), the larynx is making its own set of adjustments (i.e., the voc
thinning thanks to increasing activation of the CT muscles and the thyroid cartilage is tilting/pivoting/rocking for head voice or the cricoid cartilage for 'ch
belt), and the 'support' mechanism is also having to make some adjustments in response to these changes. (All of these adjustments tie into the 'aggi
principles taught in the bel canto tradition.) These flexible adjustments cannot be made in isolation, or apart from also making adjustments in other parts
tract or in the singer's technique without a loss of balance. How does the singer coordinate these? Through years of (the right kind of) focused practice. H
develop a strong kinaethetic sense, as well as good functional hearing (the ability to aurally discern what is happening on a functional level) and the ability
control) to 'fine tune' his/her coordination.
Subtlety of adjustment is critical. If subglottal pressures are permitted to remain relatively constant (except, of course, where they are permitted to rise
artistic e ect - dynamics) beginning BEFORE the primo passaggio (before the point where they begin to rise in the upper chest register) and crossing t
secondo passaggio, and if flexibility of adjustment of the vocal tract is simultaneously encouraged, the transition from chest voice to middle voice to head v
smooth and seamless, and head voice itself will be 'supported,' strong, balanced in resonance, and beautiful. If any one of these elements falls out of
remains static, however, head voice will be either improbable or poorly produced. Anticipation and preparation are key. The singer must anticipate chang
coordinations and changing relationships between pitch (harmonics) and resonance (formants) and prepare for them in advance, before the instrument
out of balance (e.g., unintended increases in loudness, register breaks, etc.), by making graduated adjustments. While it's exciting to let the voice build an
the higher range, most vocal exercises (scales, arpeggios, sirens, etc.) should be practised with no noticeable increases in or loss of power (loudness) as pit
This evenness prevents the voice from becoming locked into or stuck in the coordination that pertains to the lower part of the range.
Earlier in this article, I wrote about the two passaggi. One of the greatest inhibitors of flexible adjustment in the scale is thinking that the voice has only one
scale at which it 'switches gears' or changes registers - THE passaggio, or THE 'break' - and thus only two registers. Typically, this one pitch is around E4/F4/
male and female classical singers or the 'break' for CCM singers, (E4/F4/F#4 for males and A4/Bb4/B4 for females), which usually occurs several notes ab
muscular shi in females and the second in males. If all adjustments are delayed until the secondo passaggio or even a few notes above it - if the singer m
same coordination as high up as possible then 'bridges late' - the change of registration will likely be abrupt. Loudness will gradually increase through the
range and the zona di passaggio, and then the voice will experience a sudden and noticeable shi into the 'lighter mechanism' unless other adjustments are
raising F1 through narrowing and shortening the vocal tract). Instead, the singer needs to anticipate and develop greater awareness of the incremental a
that take place throughout the scale and 'bridge early' (mainly a matter of resonance adjustment here) so that a proper middle voice (classical) or a 'mix
doesn't sound shouty or otherwise imbalanced can be achieved. (Again, this earlier transition is pertinent to head voice in the classical sense, but not suita
CCM, as it will not encourage a 'mixed' voice production that is desirable in most commercial styles of singing.) A consistent subglottal pressure wil
transition and help maintain balance.
On every note in the scale, there is a slightly di erent muscular, resonance, and breath pressure balance. Some refer to this balance as 'placement,' stating t
naturally a di erent 'placement' on every note of the scale. (Some have gone so far as to call each note within the scale a di erent register unto itself!) The s
to find this 'placement' by balancing out individual notes first, then by balancing out a few notes in succession, and then finally lengthening the sung patt
must find the correct vowel for the pitch, which will help him/her find the correct muscular and breath balance. Although this work may be tedious, me
entire scales repeatedly will likely not help the singer experience these chromatic shi s.
Exercise 10: Mastering the Passaggio by Semitones
Sing [i] or [u] on a note in the middle range, roughly between the two passaggi for males (e.g., C#4 for a baritone, D#4/E4 for a tenor) and around the lowe
(E4/F4/F#4) for females. This note will be called the 'home (base).' Find the right vowel 'shading' (modification) for this note. Keep the larynx stable and c
low, and the breath steady - neither pushing nor pulling back. Aim for a warm, rounded sound and keep the mouth space moderately small, especially o
sustaining this note, slowly slide down a half step. Don't think 'down' or mentally conceive of the note as being very di erent from the note just a half ste
else the mechanical and acoustical adjustments will be conspicuous. Note the slight adjustment that is needed in order to maintain balance. Take a b
return to the 'home' note. While sustaining it, slowly slide up a half step, taking note of the subtle adjustments needed, then slide back down the half
starting on the 'home' note again, slowly slide down the half step then back to home then up the half step and then back to home. Gradually grow t
balanced notes by semitones in both directions.
B R E AT H M A N A G E M E N T E X E R C I S E S
The following exercises are designed to encourage a slowing down of the rise of the diaphragm in order to keep subglottal pressures at sustainable, he
even for loud singing and within the higher range. This 'inspiratory hold' (appoggio) will assist a smoother transition into the head register, as it wil
muscular and resonance balance (by stabilizing the position of the larynx and allowing for flexible resonance adjustments throughout the passaggi and upp
The inspiratory hold will also assist the singer in conserving his/her air so that he/she will be able to sustain notes for longer and sing longer vocal phra
running out of breath.
Exercise 11: The Farinelli Exercise
In this traditional exercise - it's 'an oldie but a goodie' - the breath cycle is divided into three phases: 1) inhalation; 2) suspension/retention of the air; and 3)
Inspiration and expiration are evenly paced over a given count so that the singer goes from 'empty' to 'full' (and then the reverse) over an even count. Tradi
singer paces inhalation for 4 beats/counts/seconds - I prefer using seconds or a metronome in order to ensure accuracy of pace and to track progress. The si
not get the sense that the air is filling up his/her throat - which means that he/she has taken in too much air - as this will prompt the glottalic valving syst
epiglottis to activate and try to cap o the air and the throat will 'close.' Then, he/she suspends his/her breath cycle by putting his/her inspiratory posture 'o
4 counts. The glottis remains open, as does the mouth (to ensure that the breath is not being held back by them but by the inspiratory musculature), but n
into or out of the lungs during this phase because there is no muscle acting on the diaphragm or lungs to prompt a change in pressure. In the third phase, e
evenly paced over 4 counts, and the diaphragm is allowed to rise - not pushed upwards, but 'allowed' - and thus the lower ribs (but not the sternum) to
inwards in preparation for the next breath cycle. In the very next breath cycle, the singer performs each phase over a count of 5 counts for each cycle
subsequent breath cycle, another count is added to each phase until the singer reaches his/her maximum length of breath cycle: 6-7 seconds per pha
common for newer singers. Then, he/she makes his/her way back down in count until he/she has returned to 4-4-4. This exercise should be practised a few
While silent breathing exercises alone will not fully train breath management skills, the Farinelli exercises is useful for helping develop the coordinat
strength needed to slow down the rise of the diaphragm during phonatory tasks and for reshaping the singer's thinking about how he/she should breathe fo
Exercises 12-14: Semi-occluded Phonations
Building on the same coordination of the Farinelli Exercise, the singer can add semi-occluded sounds, including [ŋ] (NG), [m], [n], [z], and [v] to help slo
exiting air while encouraging e iciency of vocal fold vibration.
[s-z-s] (4-8 counts for each phoneme/sound). The hissing should be strong and 'supported.' There should be more tone than air heard in the [z]. The col
lower ribs should be delayed until perhaps the end of the [z]. Then, the return to the pre-inspiratory position can be controlled gradually until the end of the
'Le over' air can be expelled silently a er the final [s] has been released.
[s-z-o-z-s] (for 4-6 count each). The goal is the same as that of the previous exercise. The singer should practise slowing the collapse of the ribs until about
the way through the exercise. This should be sung on several pitches at di erent places in the scale so that the singer can feel the di erences in the
engagement that are activated at di erent pitches. The hissing of the [s] should be strong, as should the buzzing of the [z]. The breath pressure should r
during the production of the [o]. If the singer, instead, thinks of the vowel as requiring stronger pressure than the [z], the vowel will blast more loudly and t
rise. (The pitch should remain the same for all voiced sounds in the exercise.)
1-2-3-4-5-6-7-8-7-6-5-8-7-6-5-8-7-6-5-4-3-2-1 on [z] or [v]. This exercise is to be performed rapidly with an e ort to maintain the inspiratory hold throughout
of it (or for as long as is both possible and comfortable). The singer should avoid 'revving' (increasing loudness) on the higher pitches by pushing m
pressure. There should be no noticeable increase in 'power' on the higher notes. The larynx should remain in a stable, comfortably low to neutral position.
Exercise 15: Lying Prone (Face Down)
With hands on top of each other and palms facing downward on the floor, the singer lies on his/her abdomen and places his/her forehead on his/her h
position allows the singer some space between his/her mouth and the floor, but does not represent optimal posture of the cervical spine as the head wou
back in relation to the torso.) While in this position, the singer hums (or uses any other semi-occluded sound) a scale or song in an energized manner. H
note of how his/her muscles are engaging, and which ones are involved in support. He/she should continue to resist the early collapse of the inspirato
Because the abdominal wall is prevented from distending/stretching/protruding forward (on account of it being pressed against an immovable floor), thi
ideal for training a more lateral expansion, including an expansion of the lower ribs in the back. This will allow for a deeper breath because the diaphr
permitted to lower more than it would if there were too much forward expansion with consequently limited sideways expansion. (When expansion is only
the abdominal wall, the lower ribs can be seen to narrow - move inwards - which means that the thoracic cavity is only expanding vertically, not horizonta
limiting its potential volume. It also means that the diaphragm is not lowering as much.)
Exercise 16: Sirening
This exercise is not specific to breath management, and any exercise can be used to help improve breath management skills if the focus remains on the
hold. I'm using sirens because they are one of the types of patterns in which singers tend to 'rev' or push too much breath pressure as pitch ascends, which
a locking up of the support mechanism and a shutting down of the throat.
First, as an experiment, spanning the passaggio area, sing 3-1-5-3-8-1 sliding between notes while forcing/thrusting the abdominal wall inward with each o
notes. Very likely, the voice will not only 'rev' (be louder and more pushed sounding) on the higher notes, but it will also break or become unstable. Now, sin
exercise, sliding between notes smoothly and in a controlled manner and taking special care to avoid 'revving' the higher notes. Instead, on the higher
about maintaining the expansion of the lower ribs (e.g., phase 2 of the Farinelli Exercise) - some singers like to think 'out' (sideways, not forward) or 'dow
support, but don't take this concept to any extremes. There should be no jerky movements of the 'support' mechanism. While you may feel a bit more abd
engagement (likely the transverse and oblique muscles) on the higher pitches, the actions should be subtle and controlled - prevented from being forceful
you have achieved greater balance of the entire voice system this second time singing the exercise, the higher notes in the pattern should still be strong an
but not 'blasted' and breaking, and you should have more air in reserve. The tone should also be warmer because the steadier and more consisten
pressures have helped the larynx to remain stable and low.
Exercise 17:
[si-i-i-i-i-i-o-o-o-o-o-o- - - - - - - ] on 1-3-5-4-3-2-1-3-5-4-3-2-1-3-5-4-3-2-1. Like the previous exercise, the focus should be on maintaining the lateral ex
the higher notes in the pattern (e.g., not 'revving'). As the singer moves higher in the scale, the larynx should remain stable and the vowel should be permitt
to the pitch.
Exercise 18:
[ti-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i-i] on 1-1-2-3-3-4-5-5-6-7-8-9-10-11-11-10-9-9-8-7-7-6-5-4-3-2-1. (This is a tough exercise to explain without the benefi

written properly on a sta . There are 1/8 note rests between each number that is repeated, e.g., between 1 and 1.) With every rest, the singer does a quic
his/her support to ensure that he/she has not allowed the lower ribs to collapse prematurely. He/she should be thinking of the suspension coordination
the second phase of the Farinelli Exercise. During the rests, the glottis and mouth are open, but there is no movement of air either into or out of the body.
gets an adequately low breath to begin with and then conserves his/her air (without compromising vocal power - which is also a matter of resonance, not ju
pressure), he/she should be able to sing this pattern on a single breath. If not, the rests allow for partial breath renewals ('sips'). Early on, it might be n
include a longer rest at the top of the scale (between the first and second 11 notes) for a fuller breath renewal. The [i] vowel is used here because it enc
earlier 'turning over' into F2 tuning (e.g., head voice). However, other vowels should also be practised.
[Next: Maintaining and 'Open Throat' in the Upper Range]
SINGWISE
B A L A N C I N G B R E AT H P R E S S U R E A N D G L O T TA L C O M P R E S S I O N
It's impossible to discuss breath management in isolation, as there is an important interrelationship between it and the behaviour of the glottis/vocal fold
with that of the supraglottal vocal tract, as the scale ascends. This interrelationship is more complex than can be explained here, but I'm nevertheless going
to touch on some of the main aspects of it. It's also a little bit of a challenge to discuss breath management because, just as I believe that there is no ONE
head voice for all singers, there is also no ONE breath management technique or strategy that works for all singers for all parts of their ranges, all dynam
singing tasks. This topic tends to elicit strong feelings of disagreement amongst 'rival style camps,' with CCM teachers and classical teachers vehemently
because their own 'support' needs and those of their students di er greatly. (Skilled 'hybrid' singers experience these di erences firsthand.) There ar
certain principles to which the singer would be wise to adhere. This discussion pertains to head voice rather than 'mixed' voice or belt, which dema
'support' strategies.
Two common breath management errors made by male singers in the upper chest, middle, and lower head range involve 1) a pushing of the breath in respo
in order to sustain, improper ('static') muscular and resonance adjustments, and 2) a 'pulling back' (so that 'support' is abruptly collapsed and glottal com
abruptly released) in an instinctive reaction to mounting subglottic pressures or to facilitate a 'switch' into the 'lighter mechanism.' (This usually hap
muscular shi or at the point at which F1 can be raised no further.) In other singers, there is a tendency to throttle the sound and impede breath flow by
constrictions, excessive glottal compression, and faulty tongue postures, but I'm going to focus on the first two today.
P U S H I N G O F T H E B R E AT H
This habit is greatly influenced by the current teachings on 'diaphragmatic breathing' that encourage an exaggerated and entirely forward expansion of the
wall upon inhalation followed by a forceful thrusting inward and upward of the abdominal wall at the onset of sound. This action, in turn, forces the dia
quickly and generates tremendous subglottal pressure. When subglottal pressures are excessive, and especially when they are raised abruptly, the vocal fol
respond in one of two ways: 1) they press together more firmly (o en to the point of hyperfunction) in order to match their resistance e orts to the subglott
or 2) they 'buckle' under the high pressure and are blown apart, causing an airy falsetto sound.
Many teachers (e.g., Richard Miller) believe that there should be an increase in breath energy as pitch ascends. However, this concept is o en misundersto
that subglottal pressures are to be continuously raised in the ascending scale. Miller explains that the singer "increases energy but not volume" (Solutions
p.23). This 'increase in breath energy' refers to the need for the resistance e orts of the vocal folds to the exiting air to increase as they grow thinner and
ascending pitch - they have to work harder because they are thinner - not to maintaining a thick vocal fold production and continuously raising subglotta
which leads to escalating levels of loudness with rising pitch. The result of raising tensions and subglottal pressure is not a powerful head voice, though.
that gets stuck in the coordination used for lower pitches, and as a result, sounds shouty and unmusical and is unable to vocalize in piano dynamic (especi
adding air to the tone) because there is imbalance at the physiological and acoustical levels. The larynx is also usually forced high. This increase in subgl
pressure tends to prevent a gradual thinning of the vocal folds as pitch rises.
' P U L L I N G B A C K' W I T H T H E B R E AT H
As muscular tensions begin to mount in the upper chest register and then through the zona di passaggio, the singer (especially the singer who tends to 'mu
way up the scale, but also the dramatic or robust voice) may instinctually seek to release the rising tensions abruptly around the upper passaggio. T
muscular shi at this point, he/she may suddenly slacken his/her 'support' e orts, collapsing appoggio; that is, he/she loses the counter tension prov
inspiratory musculature. When singers back o too much with the breath pressure (and by consequence glottal compression) like this, the voice flips into fa
insu icient glottal closure and a CT dominant production in which the TAs are inactive, (thereby reducing medial compression of the vocal folds).
It is very common for singers to misunderstand what head voice truly is. O entimes, they think of head voice as being a light and bright sound. They may t
simply being any sound in the upper range that isn't 'chest' voice. However, a listen to great tenors like Pavarotti will reveal that head voice, when skillfull
can be quite loud and powerful. In fact, because operatic tenors' voices are o en so powerful, many assume that these vocalists are still singing in chest voi
that many modern operatic tenors sing with a long closed quotient of the vocal folds (and therefore a fair bit of TA engagement) up to about B4/C5, yieldin
sound. (I realize that not all singers wish to produce a head voice sound like that of an opera singer, with a low larynx and darkened, rounded vowels, but th
example of the strength that can be achieved when there is balance of breath pressure, glottal compression, and resonance tuning.) If the singer maintains a
and evenness of breath pressure as he/she transverses the passaggio, the voice's resonance will tend to tune appropriately.
BALANCE
Healthy, skillful singing technique requires a balancing of subglottal pressures and essential tensions: Too much breath pressure with too little glottal co
and the vocal folds will 'blow apart,' while too little breath pressure with too much glottal compression will result in a tight, squeezed, overly compress
sound. (For healthy vocal production, air needs to move through the glottis at an appropriate pace and amount.) The inspiratory hold (appoggio) assists t
achieving this optimal balance. 'Holding back' of the breath pressure must be done with the 'support' musculature, not with the glottis. The delicate vocal f
designed to resist tremendously high subglottal pressures and will not respond appropriately or healthily to them. This is why we must balance out the
from lower in the body - by balancing out the counter tensions between the expiratory and inspiratory musculature. If appoggio is maintained - that is, the
hold, in which the rise of the diaphragm is slowed by maintenance of the lateral expansion around the lower ribs throughout most of the sung phrase or th
note, along with an elevated sternum - an 'increase in breath energy' in the higher range will not place more pressure on the delicate folds than they can h
and musically.
Additionally, when breath pressures are balanced and vowels are permitted to alter as necessary for the pitch, the larynx will almost always be coaxed au
into a comfortably low and stable (but not inflexible) position. There is no need to artificially darken vowels, force the larynx low using the tongue
consciously manipulate the position of the larynx. Doing any of these things will produce an overly dark, dull sound and may prohibit laryngeal flexibility.
[Next: A Dynamic Approach to Singing and Breath Management Exercises]
SINGWISE
R E S O N A N C E FACTO RS
O entimes, we tend to think of registration as being a purely physiological phenomenon. While there are certainly physiological changes that take place
larynx as pitch ascends and at the pivotal registration event locations (the passaggi), including changes in vocal fold length and thickness and vibratio
registration is also largely an acoustical event. The passaggi represent the muscular shi s, but they are not necessarily linked to the acoustical shi s th
place. These acoustical shi s are a ected by the vowel being sung; more specifically, by the unique resonance frequencies within the vocal tract when it is
the given vowel.
H A R M O N I CS A N D F O R M A N TS
Just a quick lesson: The vocal folds produce a complex tone consisting of several harmonics - a fundamental frequency (which we perceive as pitch)
several overtones. The fundamental frequency is also considered a harmonic - the first, or H1. (It is also called F0.) The next harmonic above H1 is labelled
forth. The overtones (H2 and above) are integer (whole number) multiples of the fundamental frequency. The frequency of H2 is twice the frequency of H1.
that if the singer is vocalizing on A4 (440 Hz), H2 is at A5 (880 Hz), H3 is at E6 (1320 Hz), H4 is at A6 (1760 Hz), etc..
Because the vocal tract is not uniform in shape - it consists of bends and 'nooks and crannies,' and has a possible side (second) 'branch' (the nasal cavity) -
several frequencies of its own. These tract frequencies are called formants, and they are created and altered by the shaping of the resonating cavities (e
articulation of the various phonemes in a given language). Like the harmonics, they are numbered according to their frequencies. F1 and F2 are most releva
di erentiation, while F3 and above are pertinent to timbre. We have more control over F1 and F2 because they are determined by the positions and sh
tongue, jaw, and lips. (Lengthening/shortening the vocal tract through lowering/raising the larynx and/or lip protrusion/retraction of the corners of the
uniformly lowers/raises all formants.)
Why is all this relevant? (I know, singers are artists not academics. Who really wants to think about all this complicated science stu , right? Why can't we ju
our hearts and let whatever comes out of our mouths be enough?) Because many of the problems that singers encounter in the passaggio area (wit
registration and resonance instabilities) are caused by resonance imbalances - by a 'clashing' of the harmonics of the sung pitch and the resonance freque
vowel (formants). Furthermore, o entimes the weakness or lack of power of the head voice is the result of harmonics falling outside resonance regions; o
tune formants to harmonics so that they can receive an acoustic boost.
Again, successful registration is not purely a matter of physiological adjustment. It is also largely a matter of resonance. When this is understood, the si
inspired to find optimal adjustments of the resonator tract in order to accommodate the higher pitches - adjustments that will improve ease of productio
tone, and mechanical e iciency, provide a stronger acoustic signal (more power, greater carrying capacity), and yield balance throughout the vo
Understanding the impact of resonance factors on vocal registration is imperative.
FIRST FORMANT VALUES
When singing in classical styles, the important harmonics lie ABOVE the first formant (F1) value for each vowel. This means that the higher harmonics (H2
are permitted/encouraged to rise above the normal value of F1 for the given vowel and thus tune to a higher formant (F2 and higher). The singer will assist
by stabilizing the length of the resonator tube (e.g., maintaining a comfortably low larynx), thereby stabilizing or even lowering F1. The resultant sound is h
other aspects of coordination, including breath and glottal compression, are also in place) with a 'covered' tone (darkened vowels). This passing of H2 abov
is accompanied by changes in the vowel - passive and/or active vowel modifications) is o en referred to as a 'turning over' of the vowel or voice.
When singing contemporary commercial music (CCM), the important harmonics lie BELOW the first formant, as a general rule. As the harmonics of the v
(vocal fold vibration) rise along with the phonation frequency (pitch), the singer makes choices about how he/she will deal with this formant. Typically, the
will continually raise F1 by altering his/her vocal tract (e.g., shortening it through laryngeal elevation, jaw lowering, lips spreading/retraction, etc.) and m
the vowel (e.g., 'leaning' or 'shading' the vowel toward another with a higher F1 value) so that the second harmonic never rises above it. The result is a 'mix
a belt, depending on certain other aspects of technique. The treatment of the formants depends entirely upon the singer's aesthetic goals, and there are pr
to each choice. To avoid being artistically or stylistically limited, it is beneficial for the singer to train the voice using both approaches.
The approximate first formant values for both males and females are listed below. (Females have slightly higher values due to their shorter vocal tracts
these are averages based on one study of speech (Hillenbrand, J., Getty, L.A., Clark, M.J., and Wheller, K., p.3103, J. Acoust. Soc. Am. 97(5), Pt.1, May 1995
bass may find that his first formant values are slightly lower while a high tenor may find that his values are the same as or higher than these average f
Additionally, if the singer maintains a comfortably low larynx, as in operatic singing, the values are likely to be slightly lower than those of speech (ne
position). Note, also, that I have rounded the average frequencies of the test subjects in this study either up or down to the nearest pitch, so they are not
vowels are listed in order from lowest to highest F1 values for males.
Vowel (IPA) Approximate F1 Location (Male) Approximate F1 Location (Female)
[i] E4 A4
[u] F#4 A#4
[ ] G#4 B4
[ ] A#4 C5
[e] A#4 C5
[o] B4 C#5
[ ] D5 E5
[æ] D5 F#5
[ ] D#5 G5
[ ] E5 F#5
[ ] G5 A#5
Why is it important to be aware of these values (approximate pitches)? Because if the male singer understands that G5 (784 Hz), for example, is roughly his
the vowel [ ] and that when he is singing the note G4 (392 Hz), his second harmonic value is G5 (784 Hz), he'll understand both why his voice develops a v
ring on that pitch (the juncture of F1 and H2), but nearly immediately loses it, or experiences 'weak' or powerless spots, as he moves up to the next couple
scale. He'll also understand that this problem can be resolved quite readily by making some minor adjustments to the vocal tract to either stabilize (or l
raise it, depending on his aesthetic and stylistic goals, and to facilitate an easier transition into the notes immediately above it and also ensure consistent 'p
Some vowels are more e ective in certain tonal areas (registers) than others. Some vowels are more problematic in the higher register than in the lower reg
the singer knows his/her F1 values for given vowels, he/she will also understand why [i] and [u] seem to 'turn over' earlier or give him/her problems on cer
where the other vowels seem to present none. He/she will also understand why these same two vowels are useful in training classical head voice but not fo
or belt (on account of their early turning over). Regardless of singing style, because of its comparatively high F1 value, [ ] is capable of greater consistency
over a wider pitch range than [i] and [u]. If he/she is a CCM singer, he/she will understand why [ ], [æ], and [ ] are generally considered to be good 'mix' and
(on account of their high F1 values), and thus will shade all of his/her vowels toward one of these high F1 vowels when in the belt range. If the singer wishes
he/she will subtly modify his/her speech vowels toward a neighbouring vowel with a higher F1 - he/she needs to know which one, though - thereby re
speech-like qualities heard in 'mixing' and belt.
For male singers (and probably for most female singers, as well), the first formant values increase in this order: [i], [u], [ ], [ ], [e], [o], [ ], [æ], [ ], [ ] then [
this, the CCM singer needing to keep H2 below F1 by raising F1 can use this order to his/her advantage by subtly shading the vowels the vocal phrase tow
vowels with higher F1 value. It isn't necessary, per se, to know precisely where each vowel 'turns over,' but an experienced singer who takes the tim
understand his/her voice through sensation and listening, will tend to feel and hear these subtle changes as they take place. If he/she understands what the
shi s mean and what is happening, he/she will maintain dynamic registration and resonance by making the adjustments necessary to find a more suitab
the given pitch.
The classical singer will tune his/her higher formants to his/her higher harmonics above the F1/H2 junction, and knowing the frequencies of F2 is also im
avoid having harmonics falling between formants and therefore not receiving an acoustic boost. However, due to the (unanticipated) length of this art
going to get into the topic of F2 tuning, which is critical to the passaggio and to head voice. Su ice it to say, for now, that as the higher harmonics rise abo
will begin to tune (with some assistance from stabilization of laryngeal height and passive vowel modification) to F2, F3, etc.. At certain points along t
certain vowels, more than one harmonic may be simultaneously amplified by higher formants, as well.
Adjusting tract resonances alone are not su icient to produce a strong head voice. There are other factors, including breath management (discussed
article) and glottal adduction that must all come together. However, vowel modification is a good place to start, as it can make it more possible t
successfully into the upper register. From there, other aspects of technique can be 'tweaked' in order to produce a fuller, more powerful sound in the upper
V O W E L M O D I F I C AT I O N E X E R C I S E S
Alternating between front vowels (to facilitate an early 'turning over' of the vowel and production of classical head voice) and back vowels in arpeggiated
good exercises for some singers. In the following two exercises, the singer switches between the front vowel [e] (as in 'day') and the back vowel [ ] ('aw'). A
moves upward in key with each exercise, the modifications can be made earlier in the scale/arpeggio so that they are suitable for the pitch, vowel, and the
F1 value for the particular vowel. The singer must feel and listen in order to sense and anticipate the necessity of these alterations. The larynx shoul
comfortably low position (not high, but also not forced downward, especially by applying tongue root pressure) and the vowels 'rounded' and 'darkened'
is to make the transition into head voice, rather than maintain a (CCM) 'mix' quality or begin to get shouty ('open timbre').
Exercise 3: [e-e-e-e-e-e-e] on 1-3-5-8-5-3-1 followed by [e-e-e-e- - - - ] on 1-3-5-8-8-5-3-1 then [ - - - - - - ] on 1-3-5-8-5-3-1
Exercise 4: [e-e- - -e-e- - -e-e- - -e] on 1-3-5-8-10-8-10-8-10-8-5-3-1
Neutral vowels - [ ] (stressed schwa, as in 'but' and 'love') and [ ] (as in 'good book') - are o en useful through the passaggio, and are very good vowels t
because they represent the 'central' position of the vocal tract (its natural 'predisposition,' so to speak). From this neutral 'home base' (headquarters
adjustment is needed to create any of the other vowels. When the tube length is stabilized through the passaggio, these neutral vowels can very o en
'behind' (i.e., in the pharyngeal space) all the vowels being articulated with the tongue, jaw, and lips - it becomes their 'common factor.' (I am not sug
singers should replace all other vowels with just these modifications - the 'omnivowel.' The neutral vowels simply result from a common pharyngeal dimen
Exercise 5: [ - - - - - - - ] on 1-2-3-4-5-6-7-8 then the reverse
Place these vowel changes around the primo and secondo passaggi. Think 'deeper' into the vowel as you ascend and with each modification so that the
not rise and can pivot. Allow the vocal folds to thin and the voice to lighten as pitch ascends.
Exercise 6: [i-i-i- - - -e-e- ] on 1-2-3-4-5-6-7-8-9 (then the reverse)
Note that, although these vowel changes are abrupt in these exercises, the process of vowel modification is, ideally, more subtle. The original vowe
transitions into the next modification over the course of several notes - they 'shade' chromatically - yielding intermediate vowels between them.
Mixed vowels and umlauted vowels are also useful for equalizing the scale. In mixed vowels, the tongue is saying one vowel while the lips are saying a
example, the vowel [y] - found in the French word 'tu' and the German word 'für' - mixes the high tongue position of [i] with the rounded, pursed lips o
combining front and back vowel phonetic aspects. This means that some of the acoustic strength of both the front and back vowel series is incorporated w
vowels.
Exercise 7: [i-i-y-y-u-u- - ] on 1-2-3-4-5-6-7-8 then the reverse
There are many 'mixed' voice exercises that can be applied to the range above the F1/H2 junction of each given vowel, but I'm just going to include two
sake of time and space:
Exercise 8: [wæ-wæ-wæ-wæ-wæ] on 1-3-5-3-1
This 'wa' (like a baby's cry) should be bright (twangy). Remain very speech-like as you ascend and delay the turning over of the vowel by lowering the jaw
allowing more of the teeth to show (retracting the lips) without introducing tensions or sti ness.
Exercise 9: [me-e-e-e-e-e-e-e-e-e-e] on 1-3-5-8-5-8-5-8-5-3-1
Begin this exercise low enough in the range that [e] is easy to sing in a TA dominant sound without any obvious changes needing to be made to the vowe
glide between the 8 and 5 to avoid abrupt changes to the vocal tract. As you approach the approximate location of F1 for [e] - you'll know by how it begin
and it will probably start to feel unstable at the semitone above it if you haven't made any adjustments to the vocal tract - start to 'shade' the vowel tow
soon a er that toward [æ]. As you ascend higher, lower the jaw further and allow more of the teeth to show (retract the lips). Although you'll notice yo
muscles working harder, don't push with the breath or 'dig into' the sound, as this will keep you stuck in pure TA dominance rather than a mix (which a
gradual thinning of the vocal folds as pitch ascends). You'll notice that this exercise is more challenging to sing than Exercise 8 because [e] has a lower F1
[æ].
As I wrote earlier, there is no single way to train vocalists in the upper range, and not all exercises will work for all singers because they have di ering aes
and slightly di erent vocal tract dimension and articulation habits. I can't possibly share every exercise or training approach here. (As you can see, there
discuss, and we've only just grazed the surface!) There are some who respond well to specific modifications as 'target' vowels (e.g., vowel charts), while oth
better by thinking in terms of vowel colour or timbre, while others still succeed with instructions for specific adjustments of the various components of the
(jaw, lips, tongue, larynx, pharynx, so palate, etc.). The singer may find that, based on what he/she knows about his/her own voice and his/her vowe
he/she is able to create his/her own training exercises to suit his/her unique training needs.
[Next: Breath Management in the upper range.]
SINGWISE
T H E PA S S A G G I
There are pivotal notes at which muscular shi s occur. These will be referred to as the two passaggi and/or 'li s.' (Passaggio is not synonymous with 'br
generally occurs above the secondo passaggio in males and between the lower and upper passaggi in females and results from the singer's failure to m
muscular, breath, and resonance adjustments when ascending the scale, leading to a point at which a shi of some sort is unavoidable and must be forc
experience their main 'li s' (i.e., passaggi and pivotal register transitions) at di erent pitches depending on the size and thickness of their vocal folds. A
shorter and/or thinner vocal folds will tend to be higher- and lighter-voiced than a singer with longer and/or thicker folds. (There are also resonance factor
the sung vowel's unique formant frequencies that a ect the locations of these shi s, which will be discussed momentarily.) This aspect of anatomy, howe
always reflect the singer's range potential, as there are lower-voiced singers who have expansive ranges and are capable of singing comfortably and skillfu
periods in very high tessituras while some naturally higher-voiced singers have impressive (and sometimes surprising) lower range extensions.
Below are the passaggi locations pertinent to each of the main voice types (corroborated by numerous teachers, including Richard Miller and Anth
supported by research conducted by Ingo Titze and others, and witnessed in my own teaching studio). The lower pitches for each voice type represent
'dramatic' or more 'robust' voices, while the higher pitches are indicative of 'lyric' or 'leggiero' (light) vocal weights. For the sake of being succinct, interm
types (e.g., baritenor and bass-baritone) are not listed here. These pitches are of primary consideration when classifying voices (along with timbre, vocal we
and tessitura).
Voice Type Primo/Lower Passaggio Secondo/Upper Passagg
Tenor C4/C#4/D4 F4/F#4/G4
Baritone Bb3/B3 Eb4/E4
Bass Ab3/A3 Db4/D4
Soprano F4/F#4 (although she might transition earlier, yielding a 'long middle register') F5/F#5/G5
Mezzo-soprano E4/F4 E5/F5
Contralto Eb4/E4 (although she might transition later) Eb5/E5 (or earlier
As I alluded to earlier and will explain in greater detail momentarily, successful navigation of the entire range depends almost entirely on making graduated
a range of many notes, rather than postponing the adjustments until a shi becomes absolutely necessary (which o en leads to register breaks). For this re
people talk about the entire range above the lower pivotal registration shi as a passaggio. The singer must always bear in mind that the vocal mechani
kept in a dynamic rather than static state. This 'period of adjustment' begins somewhere around (usually a bit lower) than the primo (lower) passaggio an
through to the secondo (upper) passaggio and in the few notes that follow. These shi s involve a gradual transfer of dominance from the TAs (which
adduction forces of the glottis) to the CTs (which lengthen the vocal folds), along with some adjustments of resonance and breath. However, the TAs
provide a degree of counter tension up until the highest portion of the modal range - an area that some might call the falsetto register, lo register, or
voice. If they do not, the voice flips into falsetto around the secondo passaggio. Both in response to and in order to assist these muscular shi s, th
mechanism and the resonator portion of the vocal tract must adapt (e.g., the configuration for the vowel alters for the given phonation frequency to ensu
resonance and mechanical e iciency). The resonator must also adapt to the changing relationships between the frequencies of the voice source (the
produced by vocal fold vibration) and those of the resonator tract (formants).
TRAINING THE UPPER RANGE
There is no ONE way of approaching head voice training that will be e ective for all singers and for all aesthetic or stylistic goals. How head voice is traine
dependent on the singer's current technical habits. For example, if the singer tends to retain too much TA involvement above the lower passaggio with
some increased CT engagement, middle voice and head voice will become unlikely and registration shi s are likely to be more pronounced. The lary
significantly and the voice will become shouty and unmusical, then probably flip at some point into an airy falsetto quality rather than a 'supported' hea
this type of singer, a 'top down' approach involving falsetto, voce finta, semi-occluded phonations, nasal continuants, etc. in descending patterns might be
that some of the lightness of the head voice can help him/her find correct balance in the middle range (and thus middle voice).
Exercise 1: Rapid 5-4-3-2-1-2-3-4-5-4-3-2-1
In this exercise, the first eight notes are lip-rolled or tongue-tip trilled and the last five notes are sung on an [ ] or [ ] vowel. The singer should take care to
to 'support' more for the vowel sound than for the trill.
Exercise 2: [ŋ -ŋ -ŋ -ŋ -ŋ - - - - ŋ] (NGuh-NGuh-NGuh-NGuh-NGuh-uh-uh-uh-uhNG) on 5-5-5-5-5-4-3-2-1
Successful development of the higher register is largely dependent upon what happens in the middle range (between A3 and G4 for most male voices and
most females, with the lower notes being more pertinent to basses and contraltos and the higher notes to tenors and sopranos, respectively). The singer m
anticipate and respond appropriately to the very subtle breath and resonance shi s that need to take place throughout the zona di passaggio (in males)
register (in females) - the area between the two passaggi. The approach for a singer with limited or no access to the lighter mechanism (either head voice
would di er greatly from that taken by the singer who can already access this part of the range, even if it is yet underdeveloped. Voice type (especially n
weight) may also be reflected in the singer's tendencies. Even though the same physiological and acoustical principles apply to all voice types and registra
are nearly identical (in happenings, not in location), there are nevertheless some subtle di erences that can make a world of di erence in helping the singe
voice type develop his/her head register. Voice training is highly individual in so many respects. Some approaches seem to work better for some stude
others.
[Next: Resonance Factors and Vowel Modification]
SINGWISE
Having a well-developed, useful upper range is one of the primary training goals of most singers. They want impressive, powerful, consistent, beautiful high
article was originally a six-part Facebook post discussing the male upper range. Some edits have been made to incorporate the female upper range, as we
voice (as it is created in commercial styles of singing).
IDENTIFYING AND NAMING THE SOUNDS HEARD IN THE UPPER REGISTER
Is it head voice, falsetto, voce finta, underdeveloped head voice, 'whoop,' 'mix,' or belt? Identifying the sounds that we hear in the upper range is challenging
reasons. To the untrained ear, some of these qualities sound very similar to each other. Also, there is not always agreement amongst vocal pedagogues and
the nomenclature assigned to these qualities (e.g. many refer to all clear tones in the higher register as 'head voice,' even though the tuning may not be t
spectrographically identified as head voice, while others employ the terms 'modal register' and 'lo register' to the singer's scale). Anyone who has ever ta
with me knows that I refer to the sounds that I hear by certain names based on their unique physiological coordinations and resonance factors, not sim
current trends. I have prepared a table that displays these di erences between the physical coordinations, resonance tuning, and aurally identifiable qualit
di erent types of phonation (sound qualities) for easy reference.
Type of Physical Coordination Resonance Tuning Sounds Like...

Phonation
Head Voice CT-dominant; TAs provide some medial Formants above F1 (e.g., to F2 in the Full voice; rich and balanced in re
compression but not as much as belt or yell; passaggio, the singer's formant cluster - F3- (chiaroscuro in classical, but brig
low larynx (neutral in CCM), wide pharynx, F5 above this range, etc.) at least until the CCM); powerful (carries well, e
smaller mouth shape until the extreme upper extreme upper range (e.g., sopranos will unamplified); depending on the am
range (convergent resonator shape - inverted tune to the fundamental, F0) TA, could be very 'beefy' (have l
megaphone) 'body'); vibrant
Falsetto CT-dominant; TAs are inactive, so only the Formants above F1 Can range from slightly airy to r
thin, cartilaginous edges of the folds are lacking in (boosted) overtones; ca
active; inadequate IA (interarytenoid) less dynamic variation because
engagement/e ort, leaving a 'chink' in the inactivity and poor source signal d
glottis; high larynx (with narrow pharynx) in glottis; seldom exhibits vibrato
inadequate glottal closure (weak

signal)
Voce Finta CT-dominant; TAs are inactive; IA provide Formants above F1 'Full' voice, but without as much '
(Feigned adequate closure of glottis; low larynx, wide head voice (due to inactive TAs);
Voice) pharynx, smaller mouth opening clear (focused)
Under- An imbalance somewhere in the breath, Formants above F1 May sound like a reinforced (no
developed laryngeal configuration, and/or supraglottal falsetto or voce finta (depending o
Head Voice resonator; coordination may be similar to of larynx and breath factors); ligh
voce finta, except larynx is typically a bit head voice; bright and ringing, bu
higher than is desirable depth when larynx is high; ma
described as a 'false falsett
'Whoop' (or CT dominant; neutral to low larynx, wide Strong F1/H1 coupling - F1 tracks with the Close to voice finta (it may be cle
'Hoot') laryngeo-pharyngeal space, smaller mouth fundamental frequency (primarily achieved focused, but it is generally not a
opening (convergent resonator shape) on close vowels such as [u], as in an
excited, energized, "Woo hoo!"); heard in
much of female Western classical singing
'Mixed' Voice Generally more TA dominant than head voice Generally H2 is kept below F1 Speech-like; o en bright (twangy)
(a ('chest mix'), although it can also be either so or loud with more or les
controversial produced with CT dominance ('head mix'); TA
term for this neutral to high larynx, narrower pharynx than
quality) head voice, larger embouchure (mouth
opening) than chest voice at comparable
pitches
Belt Primarily TA dominant with some thinning of F1/H2 coupling - F1 tracks with H2. (This is Bright, loud, 'trumpet-like,' speec
vocal folds (introduction of CTs) as pitch o en referred to as the 'yell' coupling, not (musically) yell-like.
ascends above the 'break'; high larynx, intended in the pejorative sense); F1 is
narrow pharynx, low jaw, large mouth continuously raised by a shortening and
opening (divergent resonator shape) narrowing of the vocal tract and by
modifying vowels to ones with higher F1
values
E S TA B L I S H I N G O P E R AT I O N A L D E F I N I T I O N S
Let's start by establishing an operational definition of 'head voice' so that we're on the same page. Head voice occurs over a series of fundamental
(pitches) where the vocal folds are stretched and thin, thanks mainly to increased involvement of the cricothyroid (CT) - vocal fold lengthener - muscles and
thyroarytenoid (TA), or vocalis muscles, (which are the muscular bodies of the vocal folds) activity. Head voice is sometimes referred to as the 'lighter me
the voice because there is less vocal fold mass involved in its production. The vocal folds are fully approximated. (Not everyone 'approves' of or
nomenclature traditionally or popularly assigned to this higher portion of the singer's range. However, neither am I going to argue terminology here nor a
set about renaming things. It's more important that we are at least on the same page regarding the definition as I am applying it here.) Head voice is usuall
as 'bright' and 'ringing.'
Although the terms are o en used interchangeably, head voice is not the same as falsetto. In falsetto production, the singer feels no connection to chest voi
the TAs are relatively inactive), there is typically a gap (either small or large) in the glottis (due to the slackened medial compression that would otherwise b
the TAs), and the full spectrum of overtones is not represented, making it less rich in overtones and less capable of dynamic variation than head voice. Addi
larynx typically sits in a higher position within the throat. Head voice, on the other hand is CT dominant, but the TAs continue to o er some medial c
throughout at least the lower part of the head voice register so that the vocal folds remain fully approximated. The result is a stronger source vibration, with
louder) overtones, that allows for greater dynamic variation. The larynx is generally low (opera) to neutral (CCM). When the larynx is raised (usually
continually raise the first formant and maintain speech-like qualities in the higher range) but medial compression is competent, it might be said that the sin
'mixed' registration (which keeps H2 BELOW the first formant), rather than head voice (which allows H2 to rise ABOVE the first formant - more on this later).
[Next: Muscular Shi s (the Passaggi)]
24/2/2019 Singwise - Singwise - Tips For Practicing Singing: A Practical Guide to Vocal Development
SINGWISE
TIPS FOR PRACTICING SINGING: A PRACTICAL GUIDE TO
VOCAL DEVELOPMENT (PAGE 2 OF 2)
IMPROVING TONE
I have dedicated an entire article to Good Tone Production For Singing, which discusses numerous common technical faults and how to correct them, as w
good tonal balance (chiaroscuro timbre) means. Singing With An Open Throat: Vocal Tract Shaping covers such aspects of tone production as open
authentic resonating spaces of the vocal tract and encouraging the presence of both lower and upper harmonic overtones in the voice, (characteristic
tone), by assuming ideal positions and shapes of the vocal tract. Correct Breathing For Singing also explains how good breath support and e icie
connected.
Many of the same exercises described above and below can be used to develop tone in all areas of the range. My suggestion is to always work on improving
the voice note by note, not attempting to sing a broad range of notes over and over again hoping for di erent results without making any real changes to
Each note of the scale should have an acoustical balance that creates a pleasant, fully resonant sound and ease of production (e.g., no discomfort o
tightness or tension). The key is to always be patient when developing aspects of technique, mastering the entire range one single note at a time.
Readers o en e-mail me asking how they can improve their tone in specific areas of their range, and most commonly in their head registers. What I have w
other articles on the SingWise site should give them a good starting place, but sometimes they hit a plateau and need even more guidance.
Once the most important elements of healthy vocal technique, like breathing and correct postures of the vocal tract, are in place, the singer can then tur
attention to further improving head voice tone. If a singer is struggling to sing above his or her secondo passaggio with ease and comfort due to technica
instance, developing tone in this higher register will be impossible. The laryngeal tilt and vowel modification need to be in place in order for the larynx to re
and for the vocal folds to stretch and thin properly, giving rise to higher pitch. Once the student finds singing these pitches comfortable and easy, he or s
begin the task of resonance tuning or formant tuning, which is the process of balancing out the higher and lower harmonic partials of the voice. The sing
begin to recognize when these overtones are present (e.g., the voice will have a fully resonant and vibrant 'ring' to it), and when they are absent (e.g., t
sound almost 'one-dimensional', flat, dull, overly dark in colour or overly bright or shrill). Then, with the help of a voice instructor who can o er feedback a
singer can make the subtle adjustments of the vocal tract that are necessary to consistently encourage this tonal balance. Finding this balance every time w
easier with practice.
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=TipsForPracticingSinging&page=2 1/8
One exercise that I use for some students to reinforce their upper middle and head registers involves singing staccato then legato. Staccato o en helps a si
the correct acoustical quality for the pitch that can then be reproduced in legato singing. The exercise below can be sung first in staccato and immediately
legato in the same key. The staccato portion of the exercise can later be removed when the student successfully sings each note with good tone. This exercis
variation on a short major scale, making it easy to focus on tone development because of the simple, recognizable pattern and the short intervals.
I M P R O V I N G TO N E E X E R C I S E 1
IMPROVING PITCH: EAR TRAINING AND HARMONY
Singing on pitch can be both an easy and a challenging skill to gain, depending on the student and the vocal circumstances. For instance, some stu
problems hearing or reproducing pitch accurately, as they may be tone deaf. Other singers may experience unwanted pitch deviations only at pivotal
points (the passaggi) due to their incorrect navigation of the ascending scale (referred to as 'static laryngeal funtion') - this is the most common reason for
that I encounter in my studio. Many singers find that simple, nearly predictable melodies are easy to sing pitch perfectly, but then they struggle with pit
melodies become more complicated or require larger intervallic leaps and thus greater technical proficiency. Still others have a fine ear for pitch, but
conscious about singing in front of others that they doubt their abilities to sing on tune and worry that the tone of their voices will sound unpleasan
especially in the higher area of the range. (I have dedicated an entire article to tone deafness and other causes of persistent pitch problems that may be wo
if pitch errors are frequent occurrences for you.)
If a singer struggles with pitch in general, it is best to begin with developing his or her ear by starting out simple. Basic five-note, then one octave, major
good place to start, as most people are familiar with and feel comfortable with the predictability of such patterns. If the singer can manage these scales
without deviating from the pitch, then he or she is not truly tone deaf, and developing an ear for pitch will be relatively easy. Eventually, arpeggio
challenging melodies, as well as scales in minor keys or modes, for example, can be attempted. The student needs to learn to be able to recognize the prese
discordant and harmonic sounds. It is o en easiest to hear pitches on a piano/keyboard or an acoustic guitar.
If 'pitchy-ness' is a significant problem for the singer, that singer should not attempt to teach him or herself how to recognize correct pitch until a er
confirmed that he or she can indeed hear the di erences between pitch perfect notes and sour notes. If a vocal instructor is not available, a friend or fam
who has a good ear for music can help the singer by verifying when pitch is correctly matched. If the singer can consistently tell when he or she strays from
pitch, the problem is likely more technical in nature, and is most easily remedied by some exercises that will improve how the singer navigates the scale.
I have one very young student who used to consistently go flat around B3 (the B immediately below middle C), and couldn't sing any lower. Her pitch was pe
this point. This note is not the lowest pitch that even a soprano can sing, so I knew that she should be able to sing a little lower in the scale yet. I soon learn
problem was that she was not accessing her chest register at all, and was attempting to carry her head voice down as low as possible. Once she began to u
voice function, however, her problems with pitch at the bottom of her scale disappeared, and she gained another half octave in range.
When it comes to harmony, there are many di erent approaches to teaching and learning the skill. I have compiled a list of Recommended Resources for
that can be purchased through Amazon. Some of these books and training programs are dedicated to teaching singers how to harmonize. Harmonizing is a
to have, particularly in contemporary genres, whether the singer is singing back-up vocals live or in the studio either for himself or herself or for anothe
whether he or she likes to add some harmony lines even when singing lead in order to add some drama to the lead melody line. Of course, having an ear for
also necessary in choral settings where the group is divided into four or more di erent voice parts.
Simple exercises in which a chord is played and the singer attempts to select one of the notes to sing (i.e., the third or the fi h note of the scale) may init
develop the ear to hear and come up with basic harmonies. The teacher should sing the melody note or line so that the student has a point of reference an
not to get thrown o pitch by hearing other notes of the scale being sung simultaneously.
I've noticed that there seems to be a link between singers who were regularly exposed to multi-part harmony early in life and their ability to harmonize easi
although I have no published scientific research to back up this hypothesis, and this note should not be misconstrued as a prediction of one's ability or
learn how to harmonize.
Many of my students sing in choral ensembles at church or school or in community choruses, and this provides a great opportunity for them to learn how to
(if they are not singing the soprano part, which is generally the lead melody of the song). A group setting is pressure free, as no individual voice stands o
group, and if an individual singer deviates from the harmony line or has di iculty finding it, there are other singers around him or her who can get that pers
track. Every one of my students who sings in a choir has claimed to have become much better at harmonizing with each season spent singing with their gro
I also encourage my students wishing to learn to harmonize to begin listening to groups, such as barbershop quartets or southern Gospel vocal bands w
heavily upon multi-part harmonies for their sound and style. With these groups, harmonies are generally very easy to pick out and easy to follow. Early pop
the 1950's and 1960's also made use of a lot of harmony. Even if these styles of music aren't particularly appealing to a given student, they can still m
educational and practice tool. Also, getting into the habit of singing harmonies to the songs on the radio or one's CDs or I-pod instead of always gravitating
lead melody is a really good one to get into because, as with anything in life, we learn and improve most through practice and repetition.
For even more practical tips for correcting pitch inaccuracies and improving overall pitch matching, please read Ear Training For Teachers in my article e
Deafness (Amusia) and Other Causes of Persistent Pitch Problems.
D E V E L O P I N G A G I L I T Y, V O C A L F L E X I B I L I T Y A N D V E L O C I T Y F A C I L I T Y
A more advanced skill for vocal students is gaining agility or flexibility of the voice. Agility enables the singer to execute melodically complicated passag
with ease, good tone and control in both the upper and lower extensions of the voice. Agility allows for more interesting embellishments and melismatic
the singing of a single syllable of text while moving between several di erent notes in succession. (Although most contemporary genres are more text
syllabic, where each syllable of text is matched to a single note, in approach and therefore don't require such vocal agility, it is nevertheless a very prac
have.)
An ability to both sustain and move the voice is acquired through systematic voice training. Agility factors should be introduced relatively early, once a b
over singing technique and function is obtained. Velocity facility must be acquired in order for sostenuto (sustained) singing to become totally free. The m
melismatic lines can be accomplished through the vocal gymnastics of advanced technique building exercises.
Start with brief, rapid agility patterns built on scale passages in comfortable low-middle range, first in staccato fashion, then legato. Agility patterns a
inducing in nature. They are intended not solely for voices singing literature that calls for frequent coloratura and fioritura passages, but for voices of every
and for singers of all styles. (It should be noted that certain voice types are naturally more endowed with agility abilities, with lighter voices o en having an
with agility passages than lower voices with more weight. However, this doesn't preclude singers of other voice types from developing agility.)
The exercise below is particularly useful for developing agility in the upper middle and upper part of the range:
A G I L I TY A N D F L E X I B I L I TY E X E R C I S E 1
Try the combination of Ti-Na, then Ti-No and Ti-Nay. Use the sustained note to establish good tone (e.g., to find the correct "placement" or acoustical balan
the note for as long as is necessary, before proceding to the more rapid part of the pattern. Be sure that each note on the higher part of the exercise is we
before moving up to the next key.
Another exercise that also develops the singer's ability to smoothly execute (short) intervallic leaps is:
A G I L I TY F L E X I B I L I TY FA C I L I TY E X E R C I S E 2
The challenges for most students with this exercise include staying on pitch, maintaining smoothness of the legato line and finding consistency of timbre b
registers.
I M P R O V I N G B R E AT H S U P P O R T A N D I N C R E A S I N G S TA M I N A
In my article on this site entitled Correct Breathing For Singing, I explain the body's natural way of taking in breath and supporting the tone of the voice.
included several basic exercises to help the beginning singer learn to breathe diaphragmatically.
It should be understood that breath management and tone are interrelated. If the singer's tone is unfocused (e.g., 'breathy'), for example, air is lost too qu
inadequate closure of the vocal folds. It 'leaks' out between the separated folds instead of facing healthy resistance at the laryngeal level and being used u
minimal, steady stream. In pressed phonation, air is expelled too rapidly from the lungs in an e ort to push apart vocal folds that are too tightly closed. Too
used up at the onset of sound in order to set the vocal folds vibrating to begin phonation (making sound), leaving the singer with less air for the remainder
phrase. In both cases, excessive amounts of air are used up during the sung phrase, and until these aspects of tone (e.g., vocal fold closure problems) are im
singer will continue to lack stamina or endurance.
One very common mistake that many singers make is using up more air than they need for a given vocal task. In an e ort to make their voices sound mo
they force the air out of their lungs as rapidly as possible. They confuse increased breath usage with improved breath support, and they end up pushing
allowing the air to flow out in appropriate levels (amounts) and at an appropriate rate. Doing so may put stress on the vocal folds, will impede resonan
natural volume, and will certainly reduce the amount of air available at the end of the vocal phrase. Remember that tone should ride on a steady and min
of breath. It o en takes a while for singers to figure out just how much air they truly need for a given vocal exercise or phrase.
Newer and untrained singers also have a tendency to inhale as deeply as they can - this is o en referred to as 'tanking up' for a vocal task - even for a short
phrase, then push out as much air as they can while singing the phrase because they falsely believe that they need to use up all that air in order for the
"supported" well. Then, they inhale again as deeply as they can for the next short phrase. Within a few breaths, they find themselves feeling lighthead
because their poor breath management has led to hyperventilation. I sometimes have to remind my students that they can either breathe less deep
phrases, or choose not to take a breath between two short phrases. Having less air in the lungs initially - just enough to sing the phrase comfortably and
though they are going to run out of breath at the end - usually prevents them from trying to push all the air out of their lungs as fast as they can. Pushin
breath does not create more vocal power. Instead, it leads to strain and a forced sound, as well as less endurance - you'll always run out of air too quickly. L
waste your air, and use correct vocal posturing to obtain optimal resonance.
For students who are struggling to use their breath correctly, I will sometimes have them go home and practice sustaining a note - a comfortable pit
individual - at a full volume (not shouting, though) for as long as they can. I warn them not to allow themselves to get to the point where they feel as tho
absolutely no air le in reserve because they will inevitably feel the desperate need to inhale loudly and quickly at the end of the sustained note - to gasp fo
means that they are not learning to control their breathing well enough, as the whole body will o en tense up while taking the next breath. O entimes, t
will help the singers stop pushing air out faster than is necessary, and they quickly learn to use their air more sparingly. Above all, they learn that using a lo
breath pressure is not conducive to maintaining a steady stream of tone - in fact, usually the opposite result occurs when they are forcing, as the tone
unsteady, the volume is inconsistent and the vibrato rate is unhealthy and variable. They usually return the next week feeling very encouraged by their f
improved breath management skills.
In general, any exercise that requires either an extended series of notes to be sung on a single breath or long sustained notes (or both in combination)
develop breath support and improve the singer's ability to sing for longer on a single breath, so long as good (e icient and clear) tone is in place. A lo
pattern, such as Blending the Registers Exercise 6, can be gradually slowed down over time so that the singer can be increasingly challenged to use his o
more and more e iciently. As the muscles involved in breath support become stronger, the singer will find that he or she is able to sing these exercises mo
well as sustain notes for longer and sing longer vocal phrases without the need for taking a breath mid-phrase.
The following exercise is intended to train the singer in appoggio technique, which is designed to slow the rise of the diaphragm so that air is retained in t
longer and used up more slowly. The entire exercise should be sung on a single breath. With each section of the exercise, the muscles that support inhalatio
encouraged to return to their initial positions, with the upper abdomen and lower ribs expanded as much as they were at the time of inhalation, thus pre
premature rise of the diaphragm, as well as strengthening the muscles. The mezzo-staccato (dotted) notes should be sung with no breath taken in eith
a erwards, but with the abdominal muscles moving outward as though inhalation is occuring during them. Di erent vowels should also be tried. Remem
clearer the tone of the voice and the slower the rise of the diaphragm, the more breath will be available to sing the entire exercise. If you run out of bre
point during the exercise, either speed up the tempo of the exercise a little so that you are able complete it on a single breath or sing as far into the exercise
then take a very small, quick breath between notes so that you can finish the pattern. In time, your stamina will improve, and the length of the exercise w
seem so daunting.
B R E AT H S U P P O RT A N D STA M I N A ( A P P O G G I O T E C H N I Q U E ) E X E R C I S E 1
E N C O U R A G I N G H E A LT H Y V I B R AT O
I have written an entire article on the topic of vibrato and how to develop it naturally, also published on this website. As I explain in that article, I don't di
vibrato to my students because it o en places unnecessary pressure on them to produce one, o en by artificial and unhealthy means, and prefer instead to
vibratos to develop naturally through good technique (e.g. balanced tone, with all the overtones of the voice present, good breath support, and vocal freedo
With that being said, however, the presence of vibrato in the voice can be encouraged through exercises that require the student to sustain a note on a s
sound for a measure or two. These exercises encourage correct, e icient breath management, which is also necessary for the vibrato rate to be optimal.
One such exercise is:
V I B R ATO E X E R C I S E 1
In this multi-purpose exercise, the first five notes are sung legato (smoothly), the fi h note should be held for (nearly) a full measure. There should the
(portamento) up to the octave note, which should be sustained for two full measures, or longer if the singer feels ambitious. The vibrato should be encou
present at the start of the sustained note, rather than deferred until the end of it, as is customarily done in contemporary styles of singing.
Another exercise involves sustaining the note earlier in the exercise instead of at the end:
V I B R ATO E X E R C I S E 2
As with all of the exercises that I have suggested in this article, the singer should try using di erent vowels and vowel-consonant combinations in order t
more complete and text-applicable vocal training that more closely matches the language requirements of song text.
Vibrato is generally easier to develop in the upper middle and upper range due to the increase in breath support required, as well as the increased vocal f
and the decreased amount of mass involved in the vocal fold vibratory cycle. However, a singer should not neglect developing a natural, healthy shimmer
in the lower part of his or her range.
The key is to not attempt to induce, force or fake vibrato, because doing so may be unhealthy, and will likely create a vibrato that doesn't sound natur
elements of technique, from e icient breath management to balanced tone, are the building blocks to vibrato and can't be neglected or bypassed.
A P P LY I N G V O C A L T E C H N I Q U E T O S O N G S
The value of technique training is o en only fully realized when a singer begins to apply his or her new vocal skills to songs. The success of lessons is also
how well a singer can execute the songs in his or her repertoire. Singing isn't about scales and arpeggios, which are merely practice tools for developin
abilities that will enable a singer to sing songs of his or her choosing with greater skill and artistry, and scales and arpeggios should not be taught w
explaining what skills they are useful for building and how to apply them to repertoire.
When I'm working through songs with my students, I will spend most of our time focusing on how technique is being applied to the piece. (Since I am not a v
I don't tend to spend very much time o ering guidance in how to interpret lyrics, or how to emote or gesture or arrange the music.) Students mig
complaining about particular areas of a song that they are struggling with, and I will diagnose the problem and help them develop the technique necessar
those sections of the song. These problems are most o en related to registration, pitch, breath management and tone. If necessary, we will break from
song and try an exercise that will help to further develop that particular technical skill.
When I personally prepare for a concert or gig, I work through each song, line-by-line, note-by-note, rather than singing the entire song from beginning to
that any problem areas will somehow be magically erased through global repetition. I want every single note to sound perfect, and every line to be flawle
requires breaking down the song into its smallest parts. Once those sections have been mastered individually, the entire song can then be flawlessly execu
be freer to focus on expressing the emotion behind the lyric and music and connecting with the audience when I'm performing it. It's tough for mos
suppress their desire to sing through an entire song just for the love of singing and, instead, spend much of their initial practice time working through
elements of technique and correcting the minor errors in their execution, but this kind of nitpicking and perfectionism are always worth the time and the
end, when highly skilled artistry shines through in their performances.
During lessons, there are many bad or unproductive vocal habits that tend to appear for the first time when a vocalist is singing a song. For example, many
overly nasally tones when they are singing repertoire, even when they don't apply the same nasality to their vocal exercises. O entimes, singers have a t
nasalize non-nasal vowels. Also, many students of voice tend to forget their breathing technique when they begin to sing songs, or they struggle to find plac
where they can inconspicuously take quick breaths. These are the kinds of technical aspects of singing that I help a singer work through and apply corre
repertoire.
Another common question that my students come to me with pertains to vocal registration choices. Sometimes, singers don't know if they should be sing
voice or middle voice in a certain section, especially in those areas of the range where either choice may be appropriate. In many cases, I help these studen
blending so that registration isn't an 'either or' or a 'black and white' issue, but a tonally 'grey' area in which they can incorporate a blended or mixed sou
Sometimes, the tessitura of the song - the pitch area in which much of the song's melody is sung - is simply not suited to a singer's particular voice type o
the key of the song needs to be either raised or lowered. Since I know each of my student's voices very well, I can help them make the best choices in these a
It is important for vocal students to select songs that are a good match for their current vocal abilities. The songs should be challenging enough that they
work a little bit at it, (though not for so long that they become bored), and will feel a sense of accomplishment when it comes together, but not so di icu
won't be able to sing it and become frustrated or discouraged. (I have written an article entitled Selecting the Right Songs For Your Voice that contains mo
tips on how to choose a suitable song.)
TRACKING PROGRESS
Taking note of how much one is improving (or not) is a good way for a singer to evaluate the quality of his or her voice lessons or practice program.
One valuable tool for tracking one's progress is a sound recording. Some singers will bring in a cassette tape or CD to an early voice lesson to record how t
vocal exercises before they have had any training, and then periodically record their lessons. Listening back to earlier recordings and comparing th
recordings o en reveals marked improvements that isn't always taken note of when progress tends to occur slowly but steadily, rather than dramatically. (
a parent doesn't really notice how much his or her child is growing day by day, but when a friend or family member sees that same child a er a period of a
growth is definitely more noticeable or obvious.)
Another way of using a sound recording to track progress is to select a favourite song and record yourself singing it onto your computer. A few months into
training, re-record the same song and take note of how much you have improved. In yet another few months, re-record it again. Having objective 'pr
progress is encouraging, and will inspire you to continue learning and developing as a singer. It will also help you to pinpoint the specific areas of improvem
as which areas of your technique still need attention.
Hearing positive feedback from others is also helpful. For instance, it is one thing for a singer to believe that he or she has improved over time and with p
lessons, or for a voice teacher to tell that student the areas in which progress is most notable. It's another thing, however, for family members or even fans t
on the di erences that they hear. (As a teacher, it's even encouraging for me to hear parents of my younger students tell me that they have begun to hear a
di erence in their children's voices. I don't usually solicit the feedback, but it is certainly always welcome and wonderful to receive.)
When actively seeking feedback from a friend or family member, it is important to find someone who will be honest (e.g., not overly flattering simply so as
your feelings or discourage you) in his or her assessment of your vocal skills, but also someone who will not be overly harsh and critical and who understan
singing voice is still a work in progress. Also, you must be prepared to humbly hear and graciously accept whatever that person says about your voice. If
genuinely cares about you, he or she will only want to help you reach your singing goals.
Keeping a training journal is also a good way of keeping track of progress, since we don't always remember the details about such things as our range or
limitations when we first started out singing. Early on in training, or even before starting lessons, a singer can write down, for example, his or her upp
bottommost notes. (If the singer doesn't have knowledge of music or play an instrument, the teacher can tell that student what those notes are.) A fe
months into vocal training, the singer can again make a record of his or her highest and lowest pitches, then take note of how much his or her range ha
Specific notes about registration challenges, breath management problems and other technical issues can also be taken. Then the singer can make an entr
there has been a breakthrough in one of those areas, and see how far he or she has come vocally.
A diligent student might even jot down some notes during or a er every lesson. These notes might include specific comments or critiques made by the inst
information about the scientific aspect of the vocal instrument that might have been explained, specific areas of improvement or areas that were proble
function notes (e.g., vocal health related), a new exercise that was taught, its purpose and specifically how to practice it at home (e.g., the notes or pattern
health tips, products or resources that might have been recommended by the instructor, dates for upcoming recitals or auditions, etc.. During the we
lessons, a student might record how practice or rehearsal times went, or jot down the titles of songs that he or she might like to begin working on wit
teacher during lessons.
Page 1
SINGWISE
TIPS FOR PRACTICING SINGING: A PRACTICAL GUIDE TO
VOCAL DEVELOPMENT (PAGE 1 OF 2)
In this article, I have attempted to cover the major areas of vocal skill building, and have included at least one practical exercise for developing each of
These exercises should be transposed according to the singer's voice type and range, as well as the specific area of the individual singer's range which is be
in the exercise (e.g., chest register, head register, primo passaggio, etc.). It is important to note that a singer will not automatically improve by merely attem
exercises over and over again if he or she is applying incorrect technique to them. If the most basic technical skills are lacking, then repeating the same e
likely produce the same, or even worse, results, as vocal fatigue, strain or injury may occur due to misuse of the vocal instrument. These are exercises
added to an existing vocal workout program or used to supplement the vocal training provided during lessons with a singing instructor.
This guide, along with the specific exercises contained in it, is not intended to take the place of professional voice training. More o en than not, improvem
rapid and steady when a singer has a knowledgeable and skilled vocal instructor helping him or her to develop his or her vocal instrument. However, I do
that many of my readers are currently between teachers, or choose not to invest in private voice lessons for a variety of reasons, and are actively seeking he
and sound guidance in how to improve in specific areas of vocal performance.
It should also be understood that this article is not an attempt at outlining a complete or systematic approach to voice training. Such a feat would be beyon
of this relatively brief article. I have merely made some suggestions that may or may not compliment the singer's current voice study program or fit the sing
needs.
Readers may contact me for more specific information or advice on how to achieve their vocal improvement goals or to inform me of any detail that might
in this overview. As always, please understand that it would be di icult for me to diagnose any technical errors or vocal health issues when I cannot li
observe a singer in person. However, I can make 'educated guesses' or assessments based on the information with which I am provided, as well as what I h
from my years of teaching and research, and then provide information and practice tools.
G E T T I N G S TA R T E D
B E H E A LT H Y
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=TipsForPracticingSinging 1/9
First, a singer needs to take good care of the voice and his or her entire body before singing even begins. The singer should eat a nutritionally balanced
diet. Good nutrition and adequate rest boost the immune system, helping a singer to avoid colds and other health problems that will a ect his or her voice u
A singer should also exercise aerobically in order to increase lung capacity and stamina, and avoid cigarette and marijuana smoke, as they dry out and d
function of the lungs and vocal folds, which in turn makes breath management during singing less e ective and voice quality less than optimal. Having
capacity will help especially during performances in which a singer moves around on stage with high energy or dances while singing.
Hydration is very important to helping the voice function at its optimum for lessons, rehearsals and performances. Ideally, the body should remain we
preferably with water, throughout the day, and the singer should not wait until the practice session before drinking water. During singing tasks, room-t
water is ideal, as cold water has a slight numbing a ect on the throat and makes it more di icult for the vocal instrument to work e ectively. Avoid allerge
cause throat irritation or nasal congestion, and medications that may have a drying e ect on the throat.
For more tips on how to care for the voice and how to cope with specific vocal health issues, please read Caring For Your Voice.
BE SAFE
Above all, a singer needs to use correct singing technique in order to ensure that the voice is healthy and can be used for many years.
There should never be any feeling of discomfort or pain when singing or vocalizing. If a singer feels pain or discomfort, he or she should stop singing immed
is always a sign of unhealthy singing technique. Do not believe for one moment that the old 'no pain, no gain' adage should also apply to developing the si
Some methods of training will even go so far as to encourage the singer to dismiss certain discomforts and pain while learning a new contemporary vo
technique, assuring them that the discomfort and pain will eventually go away a er they've become accustomed to using their voice in a certain
questionable) manner. If the pain is persistent, the voice should be rested, and a medical throat specialist (ENT or otolaryngologist) should be consulted, as
a sign of more serious damage to the vocal folds. Note that, when the voice is begin used properly, there should never be any need for vocal rest and recupe
singing.
In many cases, singers notice more subtle changes in their voice quality without any pain or discomfort. Hoarseness, unsteadiness, an inability to sing
volume, a voice that cuts out, range limitations, etc. are all signs of potential fatigue, strain or injury, not merely sources of frustration. If the singer experie
these changes in voice quality or function, even if they are not accompanied by pain or discomfort, he or she should seek immediate rehabilitative help, as
to use the vocal instrument incorrectly could lead to more and more serious vocal problems, including some that may become permanent.
If the singer finds that he or she requires days of rest between rehearsals or performances, this is also a sign that the voice is being worked incorrectly, not
that it is being overworked, (although the latter may also be true). If the pain is present only at certain places in the singer's range, such as in the upper
voice, the singer should immediately descend the scale again and re-examine his or her technique in the notes preceding the spot where the pain began
itself, paying special attention to even the most subtle signs of tension and strain. (Remember that upper range will not be increased when incorrect techni
used, and it therefore makes no sense to keep pushing the voice higher when it is painful or evidently squeezed. It would be best to sing only within comfo
until the singer's technique has been corrected.) A knowledgeable vocal technique instructor will be able to assess the problem and provide practical tips an
for eliminating it in the future. Learning good technique will help a singer cope with the intense demands of a busy singing schedule so that he or she wi
continue performing without the need to cancel gigs or concerts.
WARMING UP THE VOICE
When the singer is ready to begin practicing, he or she needs to take some time to slowly warm up the vocal instrument so that it is ready for the deman
about to be placed on it. Just as an athlete would never begin a training session without first stretching and loosening his or her muscles, it is never recomm
a singer jump into intense vocal demands without first allowing the voice to properly warm up.
I am frequently asked how long a warm-up routine should be. My answer is always that the length of a warm-up routine is entirely dependent on the ind
even that may change with the day, time of day or season. Some singers require a half hour before they feel as though their instruments are su iciently 'lim
others feel as though ten minutes of easy vocalizing su ice. The kinds of singing tasks (style, repertoire, tessitura, etc.) that will follow may a ect the le
warm up. A classical singer who vocalizes mostly in high lying tessituras, for example, may require more time to warm up than a singer of a contemporary
never sings above his or her secondo passaggio. A belter may require more warm up time than someone who sings gentle children's song. The time of day i
singer vocalizes may also a ect warm up times. For example, many singers require more time to warm up in the mornings a er their voices have not be
many hours (during sleep). Other singers have seasonal allergies, and it takes them longer to break up excess mucous.
I prefer to keep 'warm ups' and 'vocal practice' in two separate categories. To me, a warm up consists of easy vocalization tasks that require little conce
e ort, and that aren't necessarily intended for improvement of technical skills (although they can certainly play a role in improvement, too). The ex
'vocalises' that a singer would use a er warm up exercises, on the other hand, are designed to encourage the development of various technical skills, and w
targeted and challenging than warm up exercises.
Tongue-tip trills and lip trills on arpeggios and scales are highly e ective at gently warming up the voice because they employ only the thin edges of the
during phonation, allowing less of the vocal fold to be involved in phonation and making elongation and thinning of the folds (and thus higher pitches)
because they encourage the breathing mechanism to quickly kick into gear, as well. In Caring For Your Voice, I explain why trills are particularly e ectiv
detail.
I use these two warm-ups for my students who can trill their lips and/or tongues:
WARM-UP EXERCISE 1
WARM-UP EXERCISE 2
Don't be discouraged if you find it di icult to maintain the trill throughout the exercise at first. Many students have to learn to use the correct amoun
pressure along with the optimal degree of closure at the lip or tongue level. Practice will enable a singer to find the right balance, and thus be able to maint
stream of tone during the warm-up exercises. Also, many students find that they begin to lose the consistency of their lip trills at the bottom end of their ran
due to the need for less breath pressure, but also because lower frequencies (pitches) have a slower oscillatory rate. One helpful solution is to apply two fi
lower cheeks just outside the corners of the mouth (parallel to the space between the upper and lower sets of teeth), and then gently push up just a little,
the zygomatic muscles. O entimes, what happens during lip trills is that the zygomatic muscles begin to pull down because the puckering of the lips du
cause them to droop and lose their 'li '.
If the singer is unable to do either lip or tongue trills, warming up can still be e ectively done using short five-note scales that both ascend and descend in p
a comfortable vowel or any combination of vowels and consonants that are easy and free for the individual singer. 'Ooh' and 'Ah' are very popular for war
my students because they are a neutral vowel and open vowel, respectively. I usually suggest avoiding longer scales and arpeggios until the voice has had
loosen up because the extended range and intervallic leaps can be tension and stress inducing for the unprepared voice.
For my students who are unable to trill, I usually use this warm-up exercise on the vowel of their choice, moving up the range one key at a time, because it
avoids having to hit higher pitches before the voice is ready:
WARM-UP EXERCISE 3
Triads are also e ective for warm ups.
WARM-UP EXERCISE 4
Warm ups can involve nearly any kind of healthy vocalization - from lip and tongue trills to gentle sirening to simple five-note scales on a vowel sound to s
with small ranges - so long as they get the instrument 'loosened up' and the breathing mechanism shi ed into high gear. The most important thing with wa
take things slowly in terms of pitch and to use proper technique, (something o en neglected or ignored during warm ups, as singers tend to think of wa
quick 'practice round' before they really have to sing). You never want to sing as high as you possibly can or as low as you possibly can immediat
comfortable middle range and work your way gradually to higher and lower pitches. Tongue or lip trills (rolls) are excellent for warm ups, and you can u
cover your entire range, but your larynx must still be functioning properly and your muscles relaxed when you do them, or else you won't be helping your
So long as you are not pushing yourself as soon as you start, you should be fine.
VOCAL SKILL BUILDING
INCREASING VOCAL RANGE
One major goal of every singer is to have a well-developed and impressive singing range. A broader range means more versatility and improved artistic ex
the singer is less likely to struggle to sing all the notes of a song in the original key. Each note within the song will sound comfortable and pleasant. Howev
of stretching the vocal range, if not approached carefully and correctly, can present numerous risks, including vocal fatigue, strain and injury.
The key to successfully increasing the singing range is to do so gradually and healthily. A student of voice needs to avoid the temptation to rush ahead o
instrument, forcing it to reach for high or low notes that it is not yet ready to sing. Although a singer may be physically able to hit a certain pitch, t
necessarily mean that he or she is singing it correctly. If the note sounds squeaky, shrill, breathy or strained, or if the voice cracks or the throat
uncomfortable or painful, the singer isn't yet ready to sing that note. More technical development will be necessary before these notes become easier and s
A certain degree of technical proficiency is necessary in order for a student to e ectively extend his or her upper range. If the singer is unable to access the h
due to incorrect laryngeal and acoustical function (e.g., no laryngeal tilt in the upper middle register, thus preventing the vocal folds from lengthening a
properly, no vowel modification, a raised larynx with an improper tilt or supraglottic compression (e.g., squeezing with the muscles of the larynx and neck
will hit a proverbial wall around the second passaggio and not be able to safely break past it until proper technique is in place.
Once good technique is established, range is then gradually and methodically increased, one note (i.e., semitone) at a time, typically through short, simp
that use a very small range and intervals of only one half or full step at a time. It is usually best to allow each new note to be perfected - it should feel com
well supported and sound consistently pleasant - before attempting to add another note. Although it may be possible for a student of voice to sing a few n
or lower yet, he or she should always focus on the notes immediately above or below until they are consistently well produced, and he or she should never
the voice feels strained in any way. Having an extended range is of little use if the uppermost and lowermost notes of that range sound or feel terrible. On
begins to fall apart or the voice begins to break, singing those notes is pointless - they won't be improved by repeatedly singing them incorrectly and th
won't impress anyone if used in a performance - and it is important to go back down (or up) in the scale and stop at the first note that begins to sound less c
feels uncomfortable. A student and teacher team should then examine the reasons for this loss of balanced, steady, free-flowing tone and attem
adjustments to and improvements in the student's technical execution of that note before moving on. Otherwise, the remainder of the scale will do
deteriorate in quality, and the singer make risk vocal injury.
Many singers want to develop their ranges quickly and may have unrealistic expectations or timetables. Patience is a necessary prerequisite in vocal traini
cases, some simple adjustments made to the student's technique (e.g., how he or she approaches a note) can produce dramatic results. I have had some st
over a half an octave to their ranges in a single lesson once they have corrected the errors that had previously been causing the limitations in their range. T
may not be typical for every singer or circumstance, however.
Although extending one's vocal range is always a noble goal, the student of voice must also understand and accept that his or her body - in which lie
instrument - has certain physical boundaries or limitations unique to that individual. For example, a bass singer should never expect himself to be abl
highest notes of the tenor range because his physical instrument is simply not designed to do so. Similarly, a soprano will likely never be able to extend her
bottommost notes of a contralto's range. There is likely to be some overlapping in range between voice types, and some singers will be able to develop ex
broad ranges, but a higher instrument will always be somewhat more limited at the lower part of the range than a lower instrument will be and vice v
limitations may be a source of frustration to many singers, especially when their voice types and ranges don't fit with or get them cast for desired roles
unfortunately, it is an unavoidable fact of nature. All that a singer can do is make the most of the type of voice that he or she has been given, and develo
range as is physically possible for him or her.
A singer shouldn't be discouraged in discovering that his or her voice belongs to a particular vocal Fach (voice type) that he or she deems less desirab
classification doesn't change an individual singer's vocal abilities or place any more limitations on that singer than those that were already there before. E
unique, and some singers will be able to develop extensive ranges, while others may always have a more narrow range of usable pitches within which he
sing, even a er training. An individual mezzo soprano may be able to sing higher than a certain soprano, or an individual tenor may have access to more n
certain baritone might.
It should be noted that many limitations in range are due to a failure to apply the appropriate laryngeal function to the particular pitches involved. M
muscles through squeezing is also quite common. I have a student who had believed herself to be a soprano before coming to study with me. She
developed and extensive upper range, and it seemed reasonable to assume that she was a soprano based on that information alone. Furthermore, she s
head voice tones, carrying them down as low in the scale as she possibly could (G3), thus severely limiting the lower extension of her range. Once she lea
her chest voice, however, we discovered that she is actually a dramatic mezzo soprano with an extremely powerful chest register, and she added over five
the bottom of her range - she now vocalizes as low as Bb2.
The opposite phenomenon tends to happen for students who incorrectly categorize themselves as lower vocal voice types, such as contraltos, baritone
simply because they don't know how to sing in head voice. Once they figure out how to navigate the upper passaggio, they find that they suddenly have a
octave or more above what they had previously believed to be the uppermost notes of their range. The moral of the story is that an untrained singer should
that he or she cannot sing any higher or lower, and thus categorize himself or herself as a particular voice type, until he or she has developed enough te
know what kind of range he or she can reasonably expect to be able to develop. (It is the locations of the passaggi, not the highest and lowest notes of a sin
that most accurately determine voice type. A technique instructor can help a singer to identify where these pivotal registration events occur for that indiv
and accurately categorize the voice.)
Some of the best exercises for increasing range, particularly at the top of the scale, are simple three-note exercises on all of the five pure Italian vowe
following exercise to develop both the upper and lower range:
VOCAL RANGE INCREASING EXERCISE 1
Short chromatic scales are also excellent exercises for gently and gradually broadening a singer's range because they involve very small steps of only
(When attempting to add notes to the top or bottom of the range, it is always best to avoid large intervals.) For example:
VOCAL RANGE INCREASING EXERCISE 2
BLENDING (OR BRIDGING) THE REGISTERS
Learning to blend the registers is one of the most challenging, and o en frustrating, aspects of singing for most students. Most new singers have noticea
breaks, in which their voices shi into the adjacent register with a crack or 'clunk' or change in volume or tone quality, and it takes a great deal of work and
to retrain the vocal instrument to make the correct acoustic and muscular adjustments necessary at every pitch to promote seamless transitions throughou
In order for the vocal folds to produce higher pitches, they must elongate and become thinner, with less of the folds becoming involved in vibration. As pitc
the opposite occurs, and the vocal folds become shorter and more compact, and more muscular mass becomes involved. When registers are smoothly
'bridged', there is a certain balance of muscular involvement that needs to become reversed around the passaggi (the pivotal registration change points
register is primarily thyroarytenoid (shortener) dominant, the middle register (women) or zona di passaggio (men) are 'mixed in function', and the head
primarily cricothyroid (lengthener) dominant. Therefore, moving from chest voice to mixed (middle) voice requires that the balance of the laryngeal mu
from shortener to lengthener dominant to create and support the higher pitches. This shi needs to be gradual and continuous, or else an unpleasant re
will occur.
This gradual muscular shi ing is aided by a simultaneous acoustic shi , generally achieved through subtle modification or alteration of the sung vow
adjustments in breath energy. In Italian, this aspect of technique is generally referred to 'aggiustamento'. When the acoustic shi begins to happen, the
voice generally starts to incorporate more and more of the adjacent register's quality. For example, as a male singer moves upward through his zona di pa
tone will gradually begin to sound more and more 'head voice like' and less and less 'chest voice like', and there will be a section in which both sounds are
part of the mixture. Failing to allow this acoustic shi to take place over the course of the several notes preceding the passaggio, where the muscular sh
occurs, will inevitably cause an abrupt and noticeable change in sound (i.e., a register break).
The French term for this mixed sound quality is voix mixte. This registre mixte (mixed register) is found in the region of the singer's range that is common
heavier (chest) and lighter (head) laryngeal mechanisms. It refers either to an intermediate vibratory mode that borrows timbre (resonance qualities) an
elements from both the lower (chest) and upper (head) registers or to a vocal technique developed in the Western lyric school of singing in which sing
bridge their chest and head registers. Most researchers believe that this resonance balancing choice can be produced in either the lower laryngeal mechan
is more common in men since they have a greater chest register range) or in the lighter laryngeal mechanism, (which is more common in women because
longer middle section of their range). In this sense, voix mixte is a register made in either chest or head that is coloured to sound more like the vibratory m
other register. Use of voix mixte allows singers to realize a homogenous voice timbre throughout their tessitura and eliminate register breaks.
The biggest mistake that I see with singers is that they attempt to learn blending by repeatedly singing the same scales quickly, with the same results each t
does not cover up, nor improve, bad sound.) They would be better served, instead, by breaking down those scales note by note. Major scales and chromatic
begin a few notes below the passaggio and end a few notes above it are a great starting place for learning to e ectively blend or bridge the registers. A stude
out slowly, taking special note of the resonance and muscular balancing at each semitone, and feel how this balance shi s very gradually in the scale. By t
perfecting individual notes in the scale first, a student can usually learn to recognize the physical and acoustic signs associated with both correct an
resonance and blending, make necessary adjustments, and develop e ective muscle memory. Once the vocal instrument learns to consistently make
adjustments at every note, the range and tempo of the exercise can be gradually increased.
There are female students for whom blending is a major challenge because of the relative heaviness and fullness of their chest registers as compared to t
middle registers. For these lowere voiced singers, their chest voice tones are full, and there is a great deal of dynamic intensity (e.g., volume), yet t
significantly lightens and their volume diminishes when they are singing in their middle registers. With these students, I introduce the concept of voix m
them blend the colours of their adjacent registers and ultimately eliminate register breaks. (Sometimes, I suggest that they think of this section of their ran
of 'grey area' that is neither fully chest nor fully head, and in which they can choose to balance their tone as they see fit for a given vocal task.) I usually
intentionally but progressively lighten up or brighten the tone of their chest register as they ascend the scale toward their first passaggio. Likewise, as they
middle register, I have them hold onto a little bit of the fullness of their chest register tones (but still allow for the appropriate muscular changes or register s
they would naturally occur) and increase their breath energy. Doing so o en enables them to create a more homogenous sound between these two re
would otherwise sound very di erent. Then, we work toward developing a stronger middle register. Dramatic baritones will o en encounter the sam
challenges when they ascend the scale and enter their zona di passaggio and head register. This same blending technique is o en helpful for them.
For lighter or more lyric voices and for voices of higher fachs, this same kind of blending technique is not usually as necessary, as the chest register for these
is not usually as 'big', creating less inconsistency between timbres as they ascend into their middle and upper registers, or descend into their chest register.
Glides, slurs and portamentos (short, smooth slides through intervals in which all the in-between notes are sung), both ascending and descending in pitc
the student learn to make smooth laryngeal adjustments. For example:
B L E N D I N G T H E R E G I ST E R S E X E R C I S E 1
Theses slides should be made slowly, and the tendency to rush through the second half of the descent should be avoided. (I liken this to a roller coaster rid
of the coaster's hill, the car is moving forward, but slowly. As it begins to descend the hill, however, the car picks up more and more momentum and thus
voice tends to do the same thing when descending in pitch.) It's a particularly good idea to practice gliding smoothly and with control through the passag
when it is likely to be the most di icult. If the passaggi are problematic and the student experiences a 'clunking', he or she should try a short, chromatic sc
Vocal Range Increasing Exercise 2 (above), and apply it in the area of the passaggio in order to master the acoustic and muscular shi s associated with eac
note in the scale. Use all of the five pure Italian vowels.
There are many examples in both classical and contemporary repertoire in which singers are required to slide from (or 'tie') one note to another during a sin
vowel phoneme rather than sing each note in isolation. Practicing vocal glides will help to develop the necessary control to use them during the singing of te
Two of my favourite exercises for teaching blending of the registers once a certain mastery of the passaggi has been achieved involve a gradual 'back and
and descent that cover a little more than an octave in range. The goal is to avoid the 'stair stepping' or 'zigzagging' sound in which the voice shi s very d
from pitch to pitch. To avoid this, the singer needs some control over his or her instrument. To illustrate the di erence in the smoothness and control tha
hear, I sometimes tell my more visual students to think of their voices floating gently like a leaf in the wind, or climbint an escalator rather than climbing the
Some students also have a tendency to emphasize certain notes, usually the lower notes, more than the others in the exercise. These notes will o en soun
be better articulated than the others - I call is this 'revving' - and the student needs to learn to maintain both steadiness of volume and consistency of
definition.
B L E N D I N G T H E R E G I ST E R S E X E R C I S E 5 ( PA RT 1 )
Then, a er taking a breath, the exercise continues with ...
B L E N D I N G T H E R E G I ST E R S E X E R C I S E 5 ( PA RT 2 )
Di erent combinations of vowels and consonants can be used in these exercises, such as 'Gay'.Dah' and 'Nay Nah'. Singing the exercise on single, sustai
such as 'o' or 'e' adds a little more of a challenge to the exercise.
Another variation to this exercise, which involves a little more breath control due to its being a bit longer, is:
Another exercise that extends through di erent registers and also develops the singer's ability to smoothly execute (short) intervallic leaps is:
The challenges for most students with this exercise include staying on pitch, maintaining smoothness of the legato line and finding consistency of timbre b
registers. In addition to demanding laryngeal flexibility, this exercise can also help to develop vocal agility. (It's one of my favourite multi-purpose exercises.
To learn more about blending the registers, please read Blending the Registers in Good Tone Production For Singing, as well as Register Breaks and Pas
Glossary of Vocal Terms and the article on vowel modification.
I have also just written an article on Eliminating Register Breaks that o ers more explanation of the possible causes of register breaks and practical tips on h
out the singer's scale.
Page 2
23/2/2019 Singwise - Singwise - Singing With An 'Open Throat': Vocal Tract Shaping
SINGWISE
S I N G I N G W I T H A N ' O P E N T H R O AT ' : V O C A L T R A C T S H A P I N
(PAGE 2 OF 3)
V O C A L T R A C T S H A P I N G : T H E G O O D , T H E B A D A N D T H E U G LY O F V O C A L
POSTURE
It doesn't make any pedagogic sense to attempt to teach the nuances of tone while glossing over the intricacies of articulation. How a singer shapes his
tract while singing will directly a ect the quality of tone that is produced. It is also futile for the student of voice wishing to perfect tone, master registratio
breath management, increase range and develop agility to avoid addressing how he or she uses and shapes his or her vocal tract.
A singer needs to find the configurations of the vocal tract (the resonator) that produce the exact acoustic characteristics dictated by the phonemes
Because the entire vocal tract is relatively compact, any change among its components (lips, tongue, jaw, velum and larynx) has a direct e ect on resonance
In the following sections, I have attempted to address both the ideal and the incorrect shapes and positions for the individual components of the vocal t
note, however, that since all of the individual parts of the vocal tract a ect each other, it is di icult to discuss them in isolation.
For beginning singers, having so many parts of the vocal tract and so many elements of technique to focus on at the same time can be very overwhelmin
inducing. Students need to remember to keep the back straight, the sternum elevated, the jaw collected (wrapped up and back), the tongue forward an
throat, the cheeks li ed under the eyes, the so palate high and wide, the larynx low, the pharynx open, the velopharyngeal port closed during oral sounds
rounded, the jaw lowered in the upper passaggio, the vowels modified, etc., all while remembering to support the breath with the body. With an approach
so complicated and mechanical, it is not surprising that many students of voice find that lessons temporarily strip them of their enjoyment of singing.
wonder that many impatient students opt for 'quick fix' vocal methods that don't make singing seem so involved, but that also don't produce the bes
healthy results in the long-term.
A er making an initial assessment of a new student's skills (both the weaknesses and the strengths) and a diagnosis of any problems, a teacher and st
should begin to approach the correction of technical errors systematically, addressing one particular area of faulty technique at a time. By taking a s
approach, the student won't be as overwhelmed, and progress will begin to be made almost immediately. Generally, by the time that the student is ready to
the next stage in his or her vocal development, the earlier steps to achieving a better singing voice will have become natural and automatic, and they won't
them much thought anymore. The foundation of his or her technique will become built one skill at a time.
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=VocalTractShaping&page=2 1/10
When it comes to helping my students achieve optimal resonance balancing and vocal health, I tend to only address those elements of vocal posture that a
them from creating a fully resonant and healthy tone. Most students who come to me enjoy singing, and already possess some natural abilities. This mean
of what they are doing is likely to be correct. I acknowledge when they are doing something correctly with consistency so that they know to keep on doing
move on to address, one by one, the problematic areas of their technique. In many cases, addressing one technical error automatically improves other area
OVERALL POSTURE (THE HEAD, CHIN, NECK AND BACK)
A singer should begin with good bodily posture. He or she should stand up straight, with the shoulders back, the chin level and the head in a comfortab
position. The front of the neck should not be stretched, but loose. This posture will help put the jaw into the proper position for voice training, which,
improve vocal fold function. Breath support will also be improved.
Posture can be monitored using a wall, with the head looking straightforward. Maintain the slight, natural curves in the small of the back and in the neck. T
the correct head posture for singing in all registers.
During training or performances, it is also best not to keep the head turned to either side for any length of time. Although there may be some performance s
which the head must remain turned (e.g., in musical theatre, in order to make eye contact with the audience while sitting at a piano, etc.), it is best to ke
facing straight during all singing demands whenever possible.
If the singer must (or chooses to) sit while singing, it is important to keep the back straight, not hunched, in order to allow for better breath support. T
challenge for singers who play the guitar while seated, because they tend to lean over their instruments, curving the spine and bending the neck forward.
It is important to maintain proper chin posture, even when singing very high or very low notes. A chin that is comfortably positioned will ensure that the j
properly aligned for optimal voice training. The head should be held neither too high nor too low but remain in the communicative position of normal s
consistent posture helps to create a more balanced voice training session and, eventually, a more pleasing performance.
There is a tendency amongst singers to employ low head positions during the execution of low notes and high head positions during the singing of
However, the chin must not crane forward (jut out) or elevate for ascending pitch nor lower or tuck in for pitch descent, as these positions are unfavou
singing voice.
Raising the chin or head does not free the larynx. Nor does using the head to reach for high notes enable the vocalist to sing those higher pitches. Instead
created, and accessing the upper register becomes more di icult, if not unlikely.
Likewise, a low head position presses the submandibular muscles downward on the larynx, creating tension and discomfort. This is a situation wher
depress the larynx with the jaw or chin, burying their chins into their larynxes, thinking that they are getting more color or darkness in the voice. However,
a non-resonant, 'hooty' and 'dark' quality that is not only unpleasant, but also fails to carry in a concert hall. A depressed larynx technique makes for a
limited vocal production that can never be heard to the extent of a fully resonant tone. For some singers, burying their chins into their larynxes seems to b
resonance o their sternums (chest bones). However, the audience does not hear the same sound in this posture.
The only way to produce healthy darkness in the voice is with the 'rounding of the vowels' that is achieved by using the oval mouth shape. (The concept o
the vowels' is covered in more depth in the section on vowel modification, in Vowels, Vowel Formants and Vowel Modification.) This lengthens the voc
allows for a rounder and warmer colour to come into the singer's vocal production. (I also discuss correct mouth shaping in more detail in other sections of
In singers whose throats are 'closed', the sidewalls of the throat will sometimes 'collapse', where the neck muscles will curve inward, creating a half moo
each side of the neck, which means that the pharynx is collapsing.
FAC I A L P O ST U R E
The quality of tone in the singing voice is directly a ected by one's facial posture because of its e ects on the interior posture of the throat. There is a
relationship between correct facial posture and healthy tone that is balanced between higher and lower overtones. (See formants.)
Some singers pull down their cheeks, (or allow them to droop), and cover their teeth completely while singing, making singing di icult and 'hooty'. If the fa
is pulled down, which also lowers the so palate, then the singer must work twice as hard with breath pressure to blow the so palate out of the way. T
usually a pushed and unpleasant tone, with high notes that are flat in intonation.
A healthy facial posture is established when breath is taken. The cheeks should gently rise under the eyes. This action moves the uvula away from the
tongue, li s the so palate and prevents drooping of the cheek muscles. The cheeks should be sunken a little at the back molars, which opens the back
pharynx, at inhalation. Finally, the jaw should be 'collected' gently back in order for the larynx to release downward. Using a mirror to self-supervise this fa
exercise is helpful.
Having the zygomatic muscles follow patterns associated with pleasant facial expressions - be careful that you do not create a full smile, however -
uncontrived adjustment of the entire buccopharyngeal (mouth-pharynx) cavity. It avoids unnatural attempts to create internal space where it is not possible
Without 'li ', the singer's voice does not carry properly in a concert hall or opera house because the Singer's Formant cannot be achieved. Li ing the cheek
eyes - not smiling, but assuming a pleasant expression - brings the so palate up and brings ring into the voice, and therefore carrying power. Some voca
may call this technique 'li ing', and may have their students practice singing with a pleasant expression on their faces. When the facial posture is li ed, hig
- those which are necessary for the development of the Singer's Formant - come into the singer's vocal production.
T H E S O F T PA L AT E
The action of the so palate (velum) is a major focus of students wishing to 'open the throat' for singing.
During inhalation, when a singer is preparing to sing, the so palate automatically rises, allowing more space for airflow. (This action can be observed by lo
mirror while opening the mouth and inhaling.) For this reason, deep breathing is sometimes a successful device for relaxing the throat and preventing rigidi
The key is to learn to maintain this initial elevated position while singing, not allowing the so palate to lower substantially. Sustaining a high so palate is
important while singing in head voice - in the upper passaggio and range above the sta . In upper range, the fauces elevate even more, with the so pala
suit, just as happens in high-pitched laughter.
During singing and speaking in English, the velum is lowered only for the formation of nasal consonants. To suggest that the velum be held low during n
contrary to the laws of acoustics. If velopharyngeal-port closure is lacking during nonnasals, undesirable nasality intrudes. There is nearly universal agreem
phoneticians, speech therapists and teachers of singing that nasality, apart from intended, intermittent nasal phonemes, is unacceptable timbre.
The techniques of 'li ing' and imagining the neutral vowel 'uh' in the throat before bringing the tone into focus - both of which are outlined in the How To
Not To - Achieve An 'Open Throat' section - both encourage the li ing of the so palate during inhalation and the maintenance of this initial elevated pos
singing.
LARYNX
Please note that the buccopharyngeal (mouth-pharynx) resonator plays a feedback role in laryngeal action, so the focus of the singer should be on the arti
on the larynx itself. Attempting to exercise direct laryngeal controls causes the articulatory mechanism to malfunction and o en leads to vocal health conce
The ideal position of the larynx during singing within lower and middle registers is relaxed and low. This position is achieved with every complete breath
other words, when a singer is preparing to sing (i.e., inhaling), the larynx naturally lowers. Gently place a hand on your larynx then inhale. As air enters th
larynx can be felt moving down a bit. (This action can also be observed in a mirror.)
Because of the increase in energy demanded, the larynx naturally adopts a slightly lower level for singing than for speech. It is the student of voice's goal
this lowered position during singing in all parts of the range. As vocalizing begins, the larynx should not move upwards, although it will rock or 'tilt' (pi
when the head register is approached and entered.
Allowing the larynx to rise invites numerous problems with tone balance, registration, blending, discomfort, etc.. Higher pitches require more space, and
larynx shortens the resonator tract, making higher notes more di icult to sing. With a high larynx, getting into the upper passaggio and the high vocal rang
di icult because the folds can't pivot properly for the correct register changes to occur. The vocal folds also do not close properly. No part of the vocal trac
the correct position for healthy singing to occur.
Singing with a raised larynx will also produce a thin, innocuous timbre that lacks warmth and depth, as well as volume. A high larynxed technique general
what is o en called a 'boys choir' sound.
Furthermore, poor technique, such as using too much breath pressure, may cause the larynx to rise and create a 'squeezing' of the throat, especially as pi
upward into the head register, rather than a healthy 'ring' in the voice. Training to sing in a range or tessitura that is not natural for a singer's voice can also c
with the position of the larynx. A lyric baritone, for example, will not be able to sustain a tenor tessitura with a lower larynx position. The result will u
squeezed or tight throat, which can be damaging (e.g., causing irritation to the vocal folds and possible injury). The singer is trying desperately to 'lighten u
This concept of lightening the voice needs to be taught with a deep body connection (breath support). The only way a large voiced singer can lighten up his
quality is to connect deeper to the body.
Some teachers advocate placing a hand just above the laryngeal prominence - (the laryngeal prominence is colloquially known as either the Adam's ap
apple) - a er inhalation and holding the larynx in that lower position using the hand while singing, especially while ascending the scale. This is an injurious
as it may lead to bruising, as well as malfunction, of the larynx because it is being manually restrained from the outside and forced to remain in one positio
of the pitch being sung or the linguistic requirements, (including vowels), of the text. Never in any kind of vocal training should the larynx, or any other part
tract for that matter, be physically or manually forced to 'behave'. Instead, training the larynx to remain relaxed and low should be approached safely (
correctly, beginning with an examination and retraining of the other components of the vocal tract that may be a ecting the position of the larynx, as
singer's breath management. (Again, the focus should be on the articulators, not the larynx itself.)
If the teacher has the student gently place his or her hand on the larynx while vocalizing, without attempting to manipulate or obstruct its movement from
for the purpose of having the student monitor the action of the larynx, such a practice is appropriate and safe. In fact, some students who are typically
when their larynxes are rising until they feel extreme discomfort in the throat region gain more awareness of the vocal mechanism by either watching the m
the larynx in a mirror or gently, (placing no physical pressure on it), monitoring it with their fingers.
If the larynx rises in the upper middle register, usually caused by a lack of the laryngeal tilt or 'rocking of the larynx' that must happen in the upper middle
above in order for head voice to be accessed, tone will become thin and tight sounding. Head voice occurs as a result of the laryngeal tilt and if that t
happen, then the singer will experience extreme di iculty in the upper passaggio. The singer can either think the vowel deeper and wider as he or she goes
the vowel enough to allow for this process to occur. (I will discuss vowel modification in greater depth in the second part to this article, to be posted in m
2009.) Di erent singers respond di erently and one might respond to the vowel alteration, while another might respond to the laryngeal tilt concept.
laryngeal tilt, a singer may be instructed in the pre-vomit reflex - what the Italians called the vomitare - which will ensure that the laryngeal tilt will occur pr
Equally unhealthy to the singing voice is a depressed (overly low) laryngeal position, as it can cause pathological problems for the voice. While the larynx
to be relaxed and low during singing, a depressed larynx is both incorrect and damaging. The larynx should never be forced down, such as with the root of
It is crucial that the singer learn a slightly low larynx production without overly depressing the larynx with the root of the tongue.
If taught with the nasal resonance and the 'NG' tongue position - with the 'NG' formed with the middle of the tongue and the tongue tip in its correct resting
slightly lowered larynx makes for a healthy, warm, and balanced vocal tone that includes both higher and lower overtones.
THE LIPS
There are some teachers and choir directors who instruct their students or choir members to pucker their lips while singing. Pulling downward on the
cover the upper teeth alters the shape of the articulation system, and forces all vowels to become distorted. Try puckering your lips, as in the [u] position w
the vowel [i] ('eeh'), and take note of how terrible it sounds. It destroys the chiaroscuro relationship among the harmonic partials, overly darkening the to
vowel itself no longer sounds like an [i].
Furthermore, this technique creates tension and tightens the back of the throat. It a ects buccopharyngeal (mouth-pharynx) space, creating less space fo
and reverses the role of the zygomatic muscles, as they can't li the cheeks, and thus the so palate, when they are being pulled forward and dow
unnatural, looks strange, and creates phonetic and acoustic distortion.
During speech, lip postures vary somewhat from person to person. However, the lips should never be brought forward to sing as a fixed position. For bo
and singing, the shape of the vocal tract is in constant flux, and there is no one ideal position of the mouth or the lips for either. If the upper teeth are vi
speaking, they should also be visible during singing.
THE JAW
Jaw tension is a very common complaint amongst singers, and it is o en caused by incorrect posture of the jaw during singing and speaking. This tension
likely adversely a ect vocal health over time, is a symptom of poor technique that will also manifest itself in an unpleasant, imbalanced tone.
The correct jaw position is slightly down and wrapped back. In Italian, this ideal singing posture is referred to as 'raccogliere la bocca', which translates a
the mouth'. It refers to the avoidance of excessive jaw dropping or jaw-wagging during singing, both of which are techniques that may cause the temporo
joints to pop out of their sockets. The natural processes of vowel and consonantal definition are inherent components of the historic raccogliere la boc
These principles maintain harmonic balance, especially when singing in the speech-inflection range.
The jaw should be relaxed at all times during singing and speech. When singing, the jaw should be allowed to drop, but not push forward or down too far. It
as though it is hanging loosely and comfortably from its 'hinges' feeling space in between our back teeth. As the jaw lowers, the singer should keep the elev
zygomatic fauscia, which is accomplished by a pleasant facial expression.
The mouth should be opened only wide enough to get a full, resonant tone, but no wider. The idea that powerful singers open their mouths as wide as p
myth, as I will explain momentarily. Although singing requires opening the mouth wider than speaking does, exactly how wide depends not only on the sp
or consonant being sung, but also on the pitch and volume (dynamic intensity) of the note. To help facilitate correct jaw placement, singers can experimen
optimal mouth size for each sound that they sing. The size of the opening should be comfortable, change appropriately for the vowel being sung, and
produce optimal resonance and maintain diction.
One very common technique that many vocal instructors and choir directors teach involves dropping the jaw excessively. Choir members are generally en
open their mouths widely because it is thought, though incorrectly, to help them singer louder and make their voices heard better by the audience by crea
open space for resonation. However, forcefully dropping the jaw from the temporomandibular joint does not produce more space in either the pharynx o
Instead, dropping the mandible actually narrows pharyngeal space and forces the submandibular musculature to press downward on the larynx.
A mouth that is opened too widely creates a throat that is too closed. This technique of extreme jaw lowering contradicts, and will not be in line with, wh
about normal acoustical function. A jaw that is too low actually places tension on the larynx, lowers the so palate and inhibits the e ective closure of the
which is the opposite of the desired e ect.
Furthermore, dropping the jaw produces radical changes among relationships of the formants, in both low and high registers, causing a reduction in or eli
the harmonics (upper partials) essential to balanced vocal timbre. When these formants are absent, the voice lacks resonance and thus carrying power. Les
produced, and the tone that is heard by the audience is o en lacking the warmth of proper resonance balancing.
Some choir directors and vocal teachers also believe falsely that a larger buccal (mouth) opening will assist their singers with diction. Contrary to the
excessive jaw dropping upsets natural phonetic processes, as a singer can't clearly articulate or pronounce words when the mouth is shaped in such an unn
making clear diction impossible. A uniformly dull voice timbre is produced. Vibrancy is measurably reduced, and vocal brilliance is eliminated, regardless o
intrinsic beauty.
Some choir directors who teach this technique actually aim to have their singers produce uniformity of timbre so that no individual voice stands out in a
requires stripping the more resonant voices of the healthy overtones that make them stand out favourably. However, excessive jaw dropping - leading t
large buccal opening - is an unhealthy approach to achieving blending within a group of singers. Such a mandibular posture induces undesirable ten
submandibular region (muscles located below the jaw), and invites numerous problems with tone and registration. Furthermore, it produces what is wide
the 'choir boy' sound - an immature vocal timbre that is lacking in presence and power, and that no adult singer should be asked or expected to produce.
Some teachers will even instruct their students to physically and forcefully hold down their lower jaws while singing, such as when they are told
perpendicular shield of the three middle fingers, then place them between the upper and lower teeth to keep the mouth opened as wide as possible. In
creating tension, pulling down on the jaw encourages the elimination of upper partials that ought to be present during all singing, but especially solo singi
no phonatory task in speech (in any language) that requires the extent of jaw lowering perpetrated by the three-finger-insertion method.
Furthermore, it creates tension, discomfort and pain, which may lead to chronic problems such as TMJ syndrome, a disorder which may include sympto
acute or chronic inflammation of the temporomandibular joints, pain, dysfunction (e.g., 'clicking' during chewing or speaking) and impairment (e.g., 'loc
jaw joints). A mandible (jaw) that is dropped from its socket - which is what happens when the mouth is opened too widely - is not relaxed. Dropp
excessively, whether in a futile attempt to relax tension or to introduce additional depth or roundness by strengthening the first formant, invites TMJ.
We have two temporomandibular joints, one in front of each ear, connecting the lower jawbone - the mandible - to the skull. The joints allow movement up
side to side, and forward and back for biting, chewing, swallowing, speaking and making facial expressions. Although the jaw drops when the mouth is ope
during laughter, it does not become unhinged, whereas in a fully distended yawn, or during vomiting, it does. If you were to place your fingers gen
temporomandibular joints and pretended to chew, you would feel a small amount of movement of this joint. However, if you were to lower your jaw or pus
beyond its normal range of motion, you would feel strong action of the joint as it comes out of its socket. This is the point where the jaw has been forced d
creating tension. You don't want to ever get to this point while singing, as maintaining such a position for a period of time will cause a large amount of te
laryngeal level.
In laughter, the mouth cavity and the vocal tract are indeed both enlarged, the fascia of the cheek region (mask) is elevated, the velum is raised, and the
wall is expanded. In such a natural event, the jaw lowers considerably, but it does not drop out of its temporomandibular socket. Only in vomiting o
regurgitation does the jaw lower extensively. Regurgitation involves an unfavourable rearrangement of pharyngeal space, and shuts o the phonatory m
(the passageway for air, and thus the ability of the vocal folds to produce the voice, is shut o ). The more that one assumes the buccopharyngeal vomiting
more one diminishes the space of the pharynx (throat). Therefore, the lowered-jaw technique that some teachers espouse in an e ort to improve voice r
both unnatural and stress inducing.
Some teachers have their students keep their jaws in relatively the same dropped position during all vowel changes. O en teachers and choir directors beli
simpler to instruct their singers to assume one mouth and pharynx posture though which all vowels must then be produced. However, since locking the
position does not promote the changing acoustic events of phonation, this technique distorts all the vowels through the entire range, destroying both
resonance balance. When singers attempt to maintain the same very wide 'oval' shape regardless of the vowel being sung, it is o en referred to as the 'loc
'jaw locked open') position.
If the mandible is retained in one low position, all vowel sounds share a common quality of distortion. Holding the jaw in one lowered position produces un
and timbre distortions, which is in conflict with acoustic phonetics and the physiology of phonation. The changing postures of the lips, tongue, jaw, f
zygomatic region, velum and larynx determine flexible articulation. No one of these contributors, including the jaw and tongue can be held in a set posit
inducing strain and distorted voice quality. It should be recalled that there is no single ideal position for the mouth in singing; vowel, tessitura, and dynam
are the determinants. The jaw must not be held in a static position.
There is no fixed resonator position in speech or in song. The jaw must be permitted mobility, allowing flexible adjustments for rapid phonemic and pitch
not retained in low or distended positions. The historical international school advocates assuming speech postures in the speech-inflection range (si ca
parla, or 'one sings as one speaks'). In upper range, the mouth opens more, but the integrity of the vowel, (determined by the postures of the jaw, lips, ton
and larynx), is still maintained, and the jaw never comes out of its joints. Many singers su ering from TMJ or jaw tensions recover from these conditions o
phonetic postures are reestablished.
Healthy middle voice function cannot be achieved if the mouth is overly opened or the jaw locked in an open position. (Lower male voices seem to fall into
over-opening and locking, and produce what is called in some circles the 'baritone bark'.) When the jaw is lowered, pharyngeal space is actually reduced. Fu
the tone that is produced is o en thin or 'one-dimensional', as the balance of overtones is o en a ected.
There is a tendency for many singers to push their jaws forward, especially for higher pitches, or allow it slide forward when singing the [u] vowel sound. T
jaw technique refers to a jaw position that is too low and then is thrust forward, o en out of its sockets. Many students of voice develop a tendency to th
forward out of the temporomandibular joints in an attempt to hear their own sound better inside their heads.
Placing the jaw in a distended posture, however, invites acoustical and phonetic distortion - voice timbre becomes drastically distorted - as well as malfun
vocal instrument. This mandibular posture produces several negative results. First, when the jaw is placed in a forward position, undesirable ten
submandibular region (muscles located below the jaw) is induced. Second, the vocal folds approximate (close or come together) poorly, which causes brea
prevents the folds from functioning e iciently and healthily. Third, the tongue gets pushed back into the pharynx, filling up the primary resonator with to
creating a gag reflex at the tongue root and producing a throaty sound. Fourth, this technique elevates the larynx, which contradicts what the singer
accomplish. With the larynx functioning in a high position, only a thin, immature sound is produced. A large 'break' in the voice (also due to the poor addu
vocal folds) is also produced. Fi h, normal velar (so palate) elevation is inhibited, so the so palate assumes a low position, o en resulting in a nasally or t
There is also o en not a healthy separation between jaw and tongue function, which makes the tongue tense and legato (an Italian word meaning 'tie
suggesting that the transitions between notes should be smooth, without any silence between them) lines impossible to execute. The breath is o en choke
root of the tongue, making the breath line unhealthy and ine icient. The large amount of tension at the root of the tongue also distorts vowels.
Since the back wall of the pharynx is closed, there also cannot be healthy resonance present in the voice, since most of the healthy high overtones are c
impossible to produce a healthy sound with the jaw protruding forward.
The mouth cannot be overly opened and still achieve vocal protection. Yet the jaw must be out of the way enough toward the upper passaggio for the cor
flips to occur. When a singer is out of balance, o en from the hyperextension of the jaw (jaw thrusting forward out of its socket), the upper passag
problematic.
Some students of voice who experience tensions in the jaw due to incorrect positioning of it find it helpful to work with a mirror. Feeling the jaw move sl
and back and feeling the gentle chew of the jaw can correct this problem, and can also assist the singer in finding the correct function of the jaw. Also, placi
of the hand gently in front of the chin while singing may help the student to become more aware of when the jaw is moving forward. (The student needs t
not to restrict the natural and healthy movements of the jaw with the hand, though.)
When a singer needs to relax jaw rigidity, vowel sequences that are in accord with normal tongue and jaw postures can be useful. It may also help for a sin
the jaw to drop open as he or she forms his or her words instead of using his or her muscles to forcefully open the mouth. This is known as 'lengthening the j
THE TONGUE
Most singers, and even many vocal teachers, don't give enough consideration to the role of the tongue during singing. However, the position and shape of
are critical elements of good vocal health and optimal acoustical resonance - the results being governed by the extent to which the tongue controls ev
resonator tube (the vocal tract), and by the tongue's e ect on laryngeal e iciency.
Incorrect positions of the tongue are a leading cause of numerous technical and vocal health problems, including undesirable (dull, muddy, harsh or tin
distorted vowels, unclear diction, and a depressed larynx leading to discomfort in the throat and an inability to access the head register.
For optimal results, the tip of the tongue should rest behind the lower front teeth during singing. The tip of the tongue should move from this ideal position
in order to form certain consonants. The middle of the tongue should form an arch that must be allowed to move in order to shape the vowels as it natu
raising for closed vowels, such as [i], and lowering for more open vowels, such as [a]. The shape of the arch will change for di erent vowels, but the tip sho
in its 'home' position while singing all vowels. It will move quickly out of this resting place only for the production of consonants, but should return quickly.
Inhalation is also best executed with the tongue in this position in order to prepare more e iciently for singing. When singers inhale loudly - when the
breathers' - it is o en because the roots of their tongues are slipping back into their throats, closing o the passageway for air and choking the breath. Simp
the tip of the tongue to its forward position during inhalation is generally enough to help a singer breathe more silently and e iciently.
You can examine your tongue position while looking into a mirror. With the tip of the tongue in its correct resting position behind the top of the lower fron
the tongue slightly forward in an arched position. Your tongue may not want to behave in this way, particularly if you are accustomed to allowing it to pus
the throat because it produces the exact opposite e ect of the gag reflex. However, with practice, you will realize the brilliance of the sound that can be p
sure not to roll the tongue too forward, though.
Using this position is not di icult, and the rewards are great. When the mouth space appears to be smaller due to its being filled with a forward and arched
back of the throat (pharynx) is actually much more open. When the tongue assumes a healthy, relaxed, arched posture (e.g., the 'NG' position, formed with
not the back - of the tongue elevated), there is not likely to be tongue tension or throat soreness, and the open acoustical space will create a more ple
sound. Many technical problems, including those related to vocal registration, will o en disappear.
Trying to use other tongue postures in an attempt to achieve more resonance does not allow for the proper shaping of the vocal tract and creates tongue ten
Some teachers with a poor understanding of the physiology of the voice may instruct their students to artificially depress the tongue (i.e., with a tongue
while looking in a mirror, and may even have them attempt to do so while vocalizing. However, flattening the tongue does not produce more space in the
more acoustical space for resonance. If the tongue is flattened in an attempt to find more acoustical space in the throat, the mass of the muscles at the
tongue (the tongue root) is forced into the pharynx (the back wall of the throat), the very part of the throat that the singer is attempting to open. The primar
- the pharynx - becomes filled with the tongue mass, and the voice sounds as though it is being mu led, and has a 'throaty'.
This 'flat tongued' approach creates an unpleasant tone that sounds large, harsh and forced, as well as poor enunciation, as the integrity of the pure It
sounds become sacrificed. Clear transitions from vowel to vowel are impossible. Healthy nasal resonance disappears, register changes, particularly as
ascends the scale, are impossible because the vocal folds are unable to pivot in a healthy manner. Loss of high notes (along with the ability to transition into
register) is a particularly common symptom.
One very critical vocal problem, especially for the mezzo-soprano, is that of over-stretching the throat space in the middle register. This feeling of an overly
space o en results from depressing the root of the tongue, which places pressure directly on the vocal folds, preventing them from approximating com
resulting in a large and problematic register break at the transition between the lower registers. The solution to this problem is to have the singer think le
the middle register so that she can stretch in the upper passaggio and above. (I will be discussing vowel modification and vocal cover or protection in a f
this article, to be posted in mid June of 2009.)
This practice of singing with a flattened tongue can be very abusive and lead to vocal damage such as vocal hemorrhage, nodules, polyps or bowed or sc
folds, as a great deal of breath pressure is required in order for the voice to rise in pitch. This excessive and constant breath pressure irritates the delicate
leading to hoarseness and an inability to phonate healthily.
Breath support o en also needs to be addressed, as 'flat tongued' singers typically don't breath low enough in the body, usually because their breath get
the tongue root, as I explained above. Their quick breaths are too high in the body. The tongue can be released, making low breathing more possible, by
tongue between the lips and taking a slow, nasal breath. With the tongue trained to be in a more forward position, it cannot bunch up, and the singing
generally drop much lower into the body.
A flat, low or retracted tongue posture, sometimes called a 'false cover' - see the section below for a better explanation of the technique of vocal co
specifically relates to tongue posture - can be corrected though studying with the 'NG' tongue position, as healthy nasal resonance (not nasality) can
release tension at the root of the tongue. If the tongue gets bunched up in the back of the throat during singing, exercises involving arpeggios or scales with
in the correct 'NG' position (relaxed, with the root of the tongue out of the throat and the sound being shaped with the middle, not the back, portion of the t
the tongue being forward and arched in the mouth space) will usually correct the problem.
This concept can be applied to repertoire by slowly moving from the 'NG' to a vowel, li ing the so palate away from the tongue-root in order to expand an
upper overtones. Once the vowel feel is established then this feeling may be kept for a line of text. At first the singer will sometimes feel uncomfortable an
overly bright or harsh sound inside their heads. This is mainly due to the fact that the singer has a history of listening instead of feeling, which creates a fa
their internal hearing. With practice, though, the warmth will come into the sound as the larynx and tongue separate in function. When the tension at the
tongue releases, then the singer can realize free flying tonal quality and complete freedom of the vocal mechanism. The color comes into the vocal produ
tongue releases.
For my students with tongues that persistently slip back into their throats, I sometimes have them try singing with their tongues sticking out betwee
wrapped over the lower lip. The students will sing a 'ba' sound during three-note exercises or short scales or arpeggios. (They must beware and avoid the
also allow the lower mandible to move forward along with the tongue, as this will create tension.) While a singer's tongue would never protrude this far duri
speaking or singing demands, assuming this forward tongue position for training exercises prevents the tongue from bunching up in the throat. For many st
allows them to experience for the first time the feeling of the relaxed, open throat while singing, especially in the head register. Most can finally find free
above the upper passaggio, accessing full head voice for the first time without strain or a thinning of the sound. Once they get a sense of how it feels to keep
out of the way in order to allow the throat to open properly, they then attempt to achieve this same freedom of the throat with the tongue position that is
for each vowel and consonant. For many students, this simple exercise is successful at quickly retraining their retracted or depressed tongues.
VOCAL PROTECTION AND THE POSTURE OF THE TONGUE AND LARYNX
Many singers and teachers have a poor understanding of the concept of vocal covering, or 'cuperto' in Italian, or 'darkening of the voice' that enable
correctly and healthily navigate registration changes. (I discuss vocal covering in more depth in Vowels, Vowel Formants and Vowel Modification.) This dark
vowels should not be achieved by employing the tongue root and the laryngeal muscles in an attempt to open the throat by jamming the tongue down o
larynx or by overstretching the outer laryngeal muscles. (This technique is sometimes called a 'throat heave'.)
The idea of darkening really means to open the authentic acoustical space. However, using the root of the tongue to create a 'cover' - called a muscular
pressure directly on the glottis where the vocal folds come together. The interior pharyngeal space actually closes when a singer uses a muscular
tremendous pressure is then placed on the vocal folds by the root of the tongue.
If taught without close attention being paid to tongue posture, this technique o en creates a depressed, flat-tongued production that results in an unacc
harsh sound. If the muscular cover has been engaged, the only choice for the singer to go high is to push a tremendous amount of breath pressure to force
Using the muscular cover technique is extremely dangerous and is a di icult habit to break because this muscular cover is connected to the gag reflex in the
tongue. Unfortunately, it is a practice that is o en taught in some schools of singing.
O entimes, singers, both male and female, confuse muscular pressure (usually from tongue and neck muscles) with an authentic open throat or pharynx
wide so palate, open back wall behind the tongue, and a slightly lowered and wide larynx). They attempt to access the high range using a retractin
pressing the root of the tongue, but instead end up losing the upper range due to a resulting high-larynx singing position. The voice loses its register blend
to sound like di erent voices rather than one smooth sound throughout the scale. A depressed tongue usually accompanies problems with vibrato, part
vocal wobble (an unhealthy and overly wide and slow vibrancy rate), as well as vowel distortion, a lack of 'ring' in the voice, which can make breath m
di icult, and engagement of the laryngeal muscles in a futile attempt to shi the voice or make the voice flip registration.
'Cuperto' is associated with an open acoustical space that is stabilized through the training of the interior wall of the throat at inhalation. This training also
alteration of the vowel without using the tongue. The tongue should always speak the integrity of the vowel, even if the vowel is altered in the pharynx.
correctly, this concept of cuperto can protect the throat and encourage healthy singing. (Again, I will be discussing the concept of vocal protection, or c
voice, further in the section on vowel modification in the upcoming follow-up to this article.)
A flat, low, or retracted tongue posture, sometimes called a 'false cover', can be corrected through studying with the 'NG' tongue position, the 'NG' being f
the middle, not the back, of the tongue. As the larynx and tongue separate in function, the tension at the root of the tongue releases, and the singer can rea
more balanced and pleasant tonal quality and be able to successfully navigate register changes.
Page 1 Page 3
SINGWISE
S I N G I N G W I T H A N ' O P E N T H R O AT ' : V O C A L T R A C T S H A P I N
(PAGE 1 OF 3)
'Opening the throat' is defined as a technique whereby pharyngeal space is increased and/or the ventricular (false) vocal folds are retracted in order to m
resonating space in the vocal tract. Opening the throat involves raising the so palate (velum), lowering the larynx and assuming ideal positions of the
(the jaw, lips and tongue), as well as shaping of the mouth and use of facial muscles.
The expression also describes the sensation of freedom or passivity in the throat region that is said to accompany good singing. The technique of the op
intended to promote a type of relaxation or vocal release in the throat that helps the singer avoid constriction and tension that would otherwise throttle
tone.
An 'open throat' - a misnomer for a few reasons - is generally believed to produce a desirable sound quality that is perceived as resonant, round, ope
'constrictor tensions', pure, rich, vibrant and warm in tone. It also produces balance, coordination, evenness and consistency, and a prominent low form
prevents the tone from sounding overly bright, thin or shrill. Additionally, if singing is performed with an open and relaxed acoustical space, the singer will e
smooth blending of the registers.
This sound quality is linked to the vocal actions that take place during the preparation to sing (inhalation). The larynx lowers automatically when breath
and the so palate naturally li s at the same time. Because the events of singing are more demanding than those of speaking, requiring deeper inhalat
energy and further laryngeal depression, there is a corresponding increase in pharyngeal space that occurs somewhat naturally.
When a vocalist sings with a so-called 'closed throat', imbalance of registration is likely to occur. The chest register will be taken too high and the up
becomes more and more harsh and strident because the singer creates a tone that is merely imitative of the head voice. Intonation becomes harder an
achieve because the larynx is too high and the so palate too low, resulting in a feeling that the voice is being squeezed from both the top and the botto
words, registration shi s cannot occur in a healthy manner if the throat is closed, nor if the vocal sound is driven toward the point of nasality.
The goal of every singer should be to achieve tonal balance. Many of the popular techniques that vocal teachers use to help their students improve the qua
voices are devices for directly or indirectly enlarging and relaxing the throat during singing. The use of imagery, such as 'drinking in the breath', in their teac
common. Enlarging the throat space involves conscious inhibition of some of the natural reflexes, such as the swallowing reflex, a condition that is n
essential to good tone production.
http://www.singwise.com/cgi-bin/main.pl?doc=VocalTractShaping&section=articles 1/7
There is no science to refute that the teaching of the open throat is good pedagogy. The intricate relationship of muscles in the throat is positively a ecte
head is allowed to be free on the neck. Each muscle achieves its proper length and connection with the others in an optimum state for functioning well. T
work together, each set meeting the opposing pull of the other, which allows the larynx to become poised, balanced and properly suspended. The voc
actively lengthened and stretched by this action, and thus brought closer together. In these favourable conditions, they can close properly to execute
quickly and e iciently, and thereby produce a clear, clean tone with a minimum amount of e ort. The throat is then properly 'open'.
However, relying upon the open throat technique as the cure for all singing problems is potentially shortsighted and problematic, as a 'closed throat' ne
nor explains all vocal issues.
H O W T O - A N D H O W N O T T O - A C H I E V E A N ' O P E N T H R O AT '
There are many opinions on how to achieve an open throat, and just as many methods of trying to create it. Unfortunately, along with the correct ideas that
by real acoustical and anatomical science come strange, ine ective and potentially damaging ones. The popular internet site on which numerous voi
claiming to be 'experts' on the topic of singing present short video clips containing advice or 'mini lessons' on how to sing is full of such ideas. I've watched
video of teachers (whose own voices typically sound terrible) demonstrating singing technique that involves overly wide buccal (mouth) openings and
faulty practices. (A common mistake is equating an open mouth with an open throat. In reality, a jaw that is too low actually places tension on the larynx
so palate and inhibits the e ective closure of the vocal folds, which is the opposite of the desired e ect.)
I am not terribly fond of some of the methods of creating an open throat space, particularly those involving imagery or shaping of the vocal tract that enc
distortion of vowels. For instance, yawning, which is by far the most popular approach to teaching an open throat, tends to produce an overly open pharyn
and thus a hollow, 'throaty' tone. It also tends to be accompanied by a flattening or retracting of the tongue. Whenever a teacher instructs a student to yawn
'open the throat', he or she overlooks the injurious ramifications of such a technique when it is applied to the tasks of singing. The yawn is not intended as
maneuver for the kind of phonation that occurs during singing. Retaining the posture of a yawn, even just a partial one, during speech or song induces hype
the submandibular musculature and hinders or prevents natural-sounding voice quality.
Even when students are encouraged to only imagine and generate the first part (beginning) of a yawn, there is the tendency for the opening up to be ta
which may include an overly lowered jaw that is accompanied by an unhinging of the jaw joints, as in a full yawn. The tongue generally flattens, pushes back
and depresses the larynx, which creates a new obstruction in the singing pathway rather than freeing up the voice. We have all heard others trying to talk w
a yawn, and the tone and the diction are both terrible because the natural phonatory laws have been compromised by the incorrect articulation of the
mouth should not be overly open while singing.
If the student reaches the point where he or she really feels a hugely open space in the throat - the feeling that he or she is 'swallowing an egg' or some ot
fruit, for example - it is actually likely that the tongue root is so out of the way of the mouth cavity that it is depressing the larynx. What is an e ort to free u
the voice to resonate better actually ends up placing tension on the throat, tightening it, and producing a hollow, throaty timbre.
Assuming a facial posture of surprise, as some teach, is just plain silly from both an aesthetic and a practical standpoint, as no singer would ever apply
performance because they would both look ridiculous and sound no better. Raising the eyebrows, furrowing the brow, creasing the forehead, flaring the
widening the eyes are not linked to the li ing of the so palate nor to enhanced resonance balancing. Instead, they produce tension. These exagge
postures are not to be confused with the elevation of the zygomatic muscles of the face that is associated with a more open resonating space.
If a singer would never employ a certain technique during his or her public singing performances, then it is not likely to be a useful tool to use during les
thus makes no sense to teach it. There are some exceptions, of course, but unnatural facial expressions should never be included in technical training. A s
to learn to adopt and vocalize with singing postures that are favourable to resonance balancing and tension-free singing. Correct vocal posturing should be
place in vocal training, and a student of voice shouldn't waste his or her time assuming silly facial expressions if that part of his or her technique training
done away with.
When I was a new student of voice, the first stage of technique that I learned was what my Bel Canto instructor called 'li ing'. I was taught to assume a ple
expression (not an actual smile) during singing by gently and subtly li ing the cheeks with the zygomatic muscles - those that wrap around the sides of the
li the corners of the mouth during smiling. I remember my facial muscles quivering and twitching uncontrollably during the singing of my vocal exercises
several lessons as I trained them to naturally and more comfortably assume this position. Like most people, my facial muscles had a tendency to pull down
during speech and singing, and the muscles needed to be strengthened and retrained.
Additionally, I was taught to 'inhale' a so , quiet 'k' sound. (This is kind of like the imagery of 'drinking in the breath' or 'inhaling the breath'.) This techni
so palate further, separating it from the tongue, and lowers the larynx during inhalation. (Inhaling a loud or forceful 'k' sound not only makes for noisy an
breathing, but it also contributes to the build up of tensions.
What I appreciate most about this method of achieving an open throat is how e ortless and natural it is for the singer. It is based on anatomical science, si
plate naturally rises and the larynx automatically lowers during inhalation, and since a pleasant external facial posture directly a ects the position of the
raising it slightly. (Yes, it's as simple as that.) In my opinion, any teaching on the opening of the throat need not go much further than this simple concept o
it is e ective and likely to be su icient for nearly all students.
The key is learning to maintain this initial 'open' posture of the vocal tract for the duration of the sung phrase, not allowing any tension or constriction
throat. Any persistent issues with 'closed throatedness', which are most prevalent during register changes, particulary as the scale ascends into the upper
head registers, can be addressed if they present themselves during vocalizing. (More o en than not, these tensions and technical di iculties are the result o
tongue' and/or a raised larynx, which will be diagnosed and addressed by a trained vocal instructor.) Otherwise, a singer need only open the resonating sp
vocal tract in preparation for singing and then continue vocalizing with freedom in the throat.
One helpful technique for ensuring that the resonating spaces are open is using the neutral vowel 'uh' in the larynx and pharynx - that is, assuming this s
the throat - before bringing focus into the tone and singing the desired vowel. This technique allows the open pharynx to be established first. The brilliance
can then follow while the open feeling in the throat is retained. For training purposes, it o en helps to actually sing the 'uh' sound, then position
appropriately for the desired vowel. Sing 'uh-[e]-uh-[i]-uh-[o]-uh-[u]' repeatedly on a single breath, aiming to maintain the openness of the 'uh' while singin
pure Italian vowels. Starting with [a] is also good, as it is a similar vowel form to the 'uh'. Once this exercise becomes easier, the student can then 'open
using the (silent) 'uh' position, quickly move the tongue and the lips into position for the desired vowel, and begin to phonate on the vowel. For example, st
'uh' posture in the larynx and then bring the tongue forward and up as in the [i] vowel. In time, this technique will come naturally, requiring little pause f
and the student will be able to vocalize with an open acoustical space.
It has been my observation that whenever too much attention is drawn to what must happen at the back of the throat (the pharynx) and the larynx wh
exaggerated results, along with unwanted tensions, are produced. I've had students come into my studio who have been taught by their previous teachers
much of their attention on consciously attempting to manipulate the position of their larynxes and on actively 'opening their throats' that they end up exp
lot of tension in the jaw, neck and tongue, as well as a feeling of tightness and discomfort in the throat. In an e ort to create more space, pharyngeal tensio
the tongue gets pushed back, and a hollow, throaty sound is produced. Registration, particularly the transition into head voice, becomes impossible beca
of the tongue depresses the larynx when it should otherwise be 'rocking' or 'tilting'.
The greatest danger of this imbalanced teaching philosophy, though, is that many students are only being o ered incomplete information about vocal
good technique. Their teachers encourage them to open their throats and lower their larynxes, but they don't actually tell them how to do so correctly an
and they don't pay attention to the other components of the vocal tract, such as the tongue, that could be contributing to closed throatedness and ten
singers attempt to locally enlarge the space in the throat, they do not actually create more space. Instead, they simply rearrange the components of the
mostly in disregard of the laws of acoustics. When they attempt to spread the pharyngeal wall, for example, they end up tensing it. In the end, the stud
progress and find vocal freedom because they haven't been given enough accurate information, and more harm is done than good. Stressed out an
students with poor tone and unhealthy technique are the results.
The fact of the matter is that a singer needn't do anything substantially di erent with the jaw, mouth, tongue or larynx during singing within speech-inflec
the range of notes that a singer would use during normal speech - than what he or she would do while speaking within the same range of pitches, (unles
speaking technique is also faulty). There must be constant flexibility during articulation, which is impossible to achieve if the throat is being forced to re
(unnatural) position during singing or speech. Instead, the spacial arrangments of the pharynx and the mouth should follow the phonetic requirements
communication. Unnatural adjustments of the vocal-tract during singing should be avoided, although some modifications of this principle occur when a vo
above speech-inflection range (i.e., head register). (I explain this further in the section that discusses the unique acoustical circumstances of the female up
in the follow-up to this article, to be posted on this site in mid June of 2009.)
In the following sections, I will focus more directly on the natural and ideal positions of the vocal tract while singing, as well as some popular, though incorr
shaping the articulators. In Part II of this article, I will examine vowels and vowel modification, and explain the concept of formants in relation to tone balan
they are directly a ected by specific vocal tract shaping.
First, however, I'd like to discuss the anatomy of the throat so that the location and structure of the individual components are not a mystery to my readers.
V O C A L T R A C T A N AT O M Y
To help my readers better visualize the structure of the throat and understand the anatomy terminology that I will refer to in this article, I have include
diagrams for study and reference. The first shows the entire vocal tract in profile. The second diagram narrows in on the structures of the larynx ('voice box
diagram shows the basic structure of the so plate and its location inside the oral cavity.
A N ATO M Y O F T H E V O C A L T R A C T
from the 20th U.S. edition of Gray's Anatomy of the Human Body
The throat, which generally refers to both the pharynx and the larynx, is a ring-like muscular tube that acts as the passageway for air, food and liquid.
behind the nose and mouth, and connects the mouth (oral cavity) and nose to the breathing passages (trachea/ 'windpipe' and lungs) and the esophagus (e
The throat also helps in forming speech.
The throat consists of the tonsils and adenoids, the pharynx, the larynx, the epiglottis and the subglottic space.
The tonsils and adenoids are made up of lymph tissue, and both help to fight infections. Tonsils are located at the back and sides of the mouth and a
located behind the nose.
The pharynx is the muscle-lined space that connects the nose and mouth to the larynx and esophagus. The pharynx extends from the base of the skull
cervical vertebra, with pharyngeal dimensions determined by the structure of the individual. The pharynx consists of three parts: the nasopharynx, lyin
lower border of the so palate; the oropharynx, located between the so palate and the upper region of the epiglottis, and opening out into the buccal (m
through the palatoglossal arches - the velar region; and the laryngopharynx, extending from the top of the epiglottis to the bottom of the cricois cartilage
border of the larynx. The posterior larynx projects into the laryngopharynx.
LARYNX
from Wikimedia Commons (Olek Remesz)
(I have also written an article detailing the structure and function of the larynx, which includes many of the structures discussed only briefly here in the para
follow.)
The larynx, also known colloquially as the 'voice box', functions as an airway to the lungs, and also provides us with a way of communicating (vocaliz
cylindrical grouping of cartilages (including the thryroid, cricoid and arytenoid), muscles and so tissue that contains the vocal folds, which produce the vo
vibrations when they are stretched and a current of air passes between them.
The larynx is the expanded upper opening of the trachea (windpipe). The thyroid cartilage, attached to the hyoid bone or cartilage, makes the protuber
front of the neck known as the Adam's apple (or Eve's apple in women), and is connected below to the ring-like cricoid cartilage. This is narrow in fro
behind, where, within the thyroid, it is surmounted by the two arytenoid cartilages, from which the vocal folds pass forward to be attached together to the
thyroid.
From the outside of the neck, the larynx can be seen to rise when we swallow and lower when we inhale. Some elevation during phonation is o en seen, as
The larynx is connected to the pharynx by an opening - the glottis (the vocal folds and the space between them) - which, in mammals, is protected
epiglottis.
The epiglottis is a small flap of so tissue and elastic cartilage that acts to cover the upper opening to the larynx whenever we swallow. It folds back and do
and protect the entrance to the larynx, thus preventing food, drink and irritants from entering the respiratory tract. (The larynx also aids in this closing
upward and forward to close o the trachea, or windpipe, when the hyoid bone elevates during swallowing.) Food and drink are then directed to the esopha
tube) instead. A er each swallow, the epiglottis returns to its upright resting position - the larynx also returns to rest - allowing air to flow freely through the
into (and out of) the rest of the respiratory system. The epiglottis is one of three unpaired cartilages of the larynx, the others being the thyroid and cricoid
and is one of nine cartilaginous structures that make up the larynx.
Subglottic space refers to the space immediately below the vocal folds. It is the narrowest part of the upper airway.
Supraglottic space refers to the space immediately above the vocal folds.
S O F T PA L AT E
from the National Institutes of Health
The so palate (or velum, or muscular palate) is the so tissue that makes up the back of the roof of the mouth. It is suspended from the posterior, or rea
the hard palate, forming the roof of the mouth. The structure is movable, is composed of mucous membranes, muscular fibres (sheathed in the mucous m
and mucous glands, and is responsible for closing o the nasal passages from the oral cavity during swallowing and sucking (and during the speaking an
nonnasal sounds).
The so palate is distinguished from the hard palate at the front of the mouth in that it does not contain bone.
When the so palate rises, as in swallowing, it separates the nasal cavity and nasopharynx from the posterior part of the oral cavity and oral portion of the
sucking, the so palate and posterior superior surface of the tongue occlude the oral cavity from the orapharynx, creating a posterior seal that prevents th
fluid and food up through the nose and, with the tongue, allows fluid and food to collect in the mouth until swallowed. During sneezing, it protects the na
by diverting a part of the unwanted substance to the mouth.
The so palate's motion during breathing is responsible for the sound of snoring. Touching the so palate evokes a strong gag reflex in most people.
The so palate retracts and elevates during speech to separate the oral cavity (mouth) from the nasal cavity in order to produce oral speech sounds. If this s
incomplete, air escapes through the nose, causing the speech to be perceived as hyper nasally. In the case of nasal consonants and vowels, it lowers t
velopharyngeal port to open.
The 'fauces' are defined as the lateral walls of the oropharynx that are located medial to (through the middle of) the palatoglossal folds. The areas later
sides of) the palatoglossal fold are not the fauces. The term 'fauces' refers to the narrow passage from the mouth to the pharynx (sometimes call the 'isth
fauces') that is situated between the velum and the posterior portion of the tongue. The fauces are bordered by the so palate, the palatine arches, and the
tongue. Two muscular folds - the pillars of the fauces - lie on either side of the passage.
The uvula, (Latin for 'little grape'), is a fleshy piece of muscle, tissue and mucous membrane that hangs down from the so palate. When we swallow, as w
we say or sing nonnasal (oral) vowels and consonants, such as "Ah", the uvula flips backward and upward, which helps close o the nasal passa
velopharyngeal port), preventing unwanted nasality from entering the tone.
When the zygomatic muscles are raised during inhalation, the fauces elevate as well, thus playing an important role in 'opening the throat'.
The two zygomatic muscles (major and minor) have their points of origin on the zygomatic bone and insert in the skin and muscle at the corners of the
zygomatic muscles retract and pull the lip corners upwards.
The zygomatic major is a paired muscle of facial expression that extends from each zygomatic arch (cheekbone) to the corners of the mouth. It blends w
the levator anguli oris, the orbicularis oris, and the depressor anguli oris. Its participation in facial expression is determined by the emotion to be express
the angles of the mouth superiorly and posteriorly, raising the corners of the mouth when a person smiles. It draws the angles of the mouth upwards an
laughter, laterally. Like all muscles of facial expression, the zygomatic major is innervated by the facial nerve. The minor and major zygomatic muscles (ass
levator muscles) can raise the fascia between the lips and the maxilla (area between the lips and cheeks), much as when a fragrance is slowly inhaled t
nose, producing a pleasant facial expression, but not a full-blown smile.
Page 2 Page 3

Singwise - Singwise - Breath Management ('Support' of The Singing Voice) - Merged PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Singwise - Singwise - Breath Management ('Support' of The Singing Voice) - Merged PDF

Uploaded by

Copyright:

Available Formats

24/2/2019 Singwise - Singwise - Breath Management ('Support' of the Singing Voice)

Check out Karyn's channel for more informative, practical content!

A rapid 1-2-3-4-5-6-7-8-7-6-5-8-7-6-5-8-7-6-5-4-3-2-1 on a /z/ or /v/ sound is also helpful.

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

GOOD TONE PRODUCTION FOR SINGING (PAGE 2 OF 4)

GOOD NASAL RESONANCE

Page 1 Page 3 Page 4

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

GOOD TONE PRODUCTION FOR SINGING (PAGE 3 OF 4)

WHY OUR VOICES ALL SOUND DIFFERENT

Page 1 Page 2 Page 4

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

GOOD TONE PRODUCTION FOR SINGING (PAGE 4 OF 4)

BLENDING THE REGISTERS

VOCAL FRY REGISTER

Page 1 Page 2 Page 3

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

TENSION IN THE TONGUE

TENSION IN THE JAW

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

NECK (AND SHOULDER) MUSCLE TENSION

TENSION IN THE SUBMANDIBULAR (BELOW THE JAW) REGION

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

The mechanism of breathing can be summarized in this way:

THE ABDOMINAL MUSCLES

MUSCLES OF THE LOWER BACK

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

THE PHYSICS OF MAKING SOUND

Mouth - upper mid-range, mid-vowels

chanting of the Tibetan Monks)

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

THE LARYNX: STRUCTURE AND FUNCTION (PAGE 1 OF 3)

SKELETON OF THE LARYNX

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

THE LARYNX: STRUCTURE AND FUNCTION (PAGE 2 OF 3)

INTRINSIC MUSCLES OF THE LARYNX

EXTRINSIC MUSCLES OF THE LARYNX

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

THE LARYNX: STRUCTURE AND FUNCTION (PAGE 3 OF 3)

MUCOSAL LINING OF THE LARYNX

FUNCTION OF THE LARYNX

HOW PUBERTY AND AGING AFFECT THE SINGING VOICE

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

GOOD TONE PRODUCTION FOR SINGING (PAGE 1 OF 4)

COMMON TONE PRODUCTION ERRORS

Page 2 Page 3 Page 4

© 2008 - 2019. All rights reserved. Design: HTML5 UP

Check out Karyn's channel for more informative, practical content!

SINGING IN THE UPPER RANGE (PAGE 6 OF 6)

Exercise 19: Deep Inhalation

Exercise 20 (Classical Head Voice): [u]-slide-[u] on 1-slide-3-slide-1

Exercise 21 (Classical Head Voice): [u]-slide-[u- -e-i-o-u]-slide-[u] on 1-slide-3-3-3-3-3-3-slide-1