Vocalist.org archive


From:  "Lloyd W. Hanson" <lloyd.hanson@n...>
Date:  Sun Aug 13, 2000  2:49 pm
Subject:  Re: [vocalist-temporary] TECHNIQUE

Re: [vocalist-temporary] TECHNIQUE
On 13 Aug 2000, Caio Rossi wrote:

"We (his voice teacher) talked a lot about technique, since what he does is completely the opposite of what I've read from most books and posts here on the list. He controls pitch solely by raising his larynx. I questioned him about that and he said that it HAS TO HAPPEN. When I tried to open the mouth open wide for higher notes he said I shouldn't do that, but work with the larynx only
and also always keep my tongue flat at the bottom of the mouth, but that's
common )."

COMMENT:  Attempting to control pitch by raising the larynx is counterproductive.  The control mechanism for raising pitch is within the larynx, not outside it.  Raising and lowering the larynx as a means of controlling pitch is using muscle systems that are not intended to this purpose and are not effective in doing so.  That is, the singer may raise and lower larynx as pitch goes up and down but it is not the raising and lowering of the larynx that is causing the pitch change.  The pitch change is caused by the internal muscles of the larynx (the antagonistic thyro-arytenoids and the crico-thyroids).  Raising the larynx DOES NOT HAVE TO HAPPEN, and it should not happen.  It places the laryngeal mechanism under unnecessary stress and distorts the upper registers.

COMMENT ON COMMENT:  A lot of rock and pops singing chooses to distort the upper registers of the singing voice.  The tone that is desired appears to be a pained vocal tone that is akin to a yell.  It is the antithesis of the high voice tone that is desired in classical singing.  The artistry of this choice is not a part of this discussion but the effect on vocal functions is.  I do believe it is possible to produce the "yell" voice in the upper registers but the balance of vocal function necessary to do so must be given consideration.  Raising the larynx has been proven to be damaging and should not be attempted.  Notice how often rock/pop singers raise the chin and tip the head back slightly for the high tones.  This movement tends to lift the larynx and pull the vocal mechanism out of its natural, balanced position.

BACK TO THE FIRST COMMENT: Opening the mouth as the pitch ascends is a natural method of tuning the vocal tract (mouth and pharynx) to a higher pitch.  Try thumping along the side of your throat with your finger as you open the mouth and you will have an example of this effect.  This helps to emphasize the fundamental of the tone you are singing

If you choose to close the mouth as the pitch ascends you will be emphasizing one of the overtones (partials) of the tone you are singing and the voice will have a thinner, brighter sound.

"Keeping the tongue flat at the bottom of the mouth" also has the potential to be damaging to the naturel production of the voice.  If what you mean by this statement is that the tip of the tongue is at the bottom of the mouth touching the lower front teeth for most vowels, there is no problem.  But if you are suggesting that the blade of the tongue must be kept at the bottom of the mouth for all vowels, this is basically not possible.  The [i] vowel and its neighbors {e} and [E] requires that the middle of the blade of the tongue be close to, or touching, the upper back teeth.  The [u] vowel and its neighbor [o] requires that the back of the tongue be raised and, in some singers, prevents the tip of the tongue from touching the lower front teeth.  Even in the [a] vowel the tongue is not completely flat at the bottom of the mouth.  Only the schwa vowel has the tongue in a completely relaxed position at the bottom of the mouth.  Keep in mind that all of the IPA symbols mentioned above are approximate and not absolute values, but are close enough to similar uses in all western languages.  The movements of the tongue for speech should be noted and these basic movements used in singing as well.

It is always possible for some individuals to achieve an effect with seemingly diametrically opposed concepts of function.  The fact that an admired singer may not really understand what is occurring in his/her voice is not uncommon.  And many admired singers may have little need to know how their voices function as long as they are not teaching.  However, once teaching begins, the teacher must become more aware of vocal function.  I know many singers who learned how their voices worked only when they began teaching.  And, to their surprise, their concepts of how they sang were not correct.  Nor did their voices function as they thought they did.

You are on a journey to learn to sing well in a style that you find desirable.  I encourage you in your journey.  Experiment with your voice to discover what works well for you, read what others say, attempt what your teacher suggests but always apply your instruction to your needs and return to your teachers with questions and difficulties, especially if your instruction does not seem to be working for you.

--
Lloyd W. Hanson, DMA
Professor of Voice, Pedagogy
School of Performing Arts
Northern Arizona University
Flagstaff, AZ 86011
emusic.com