Joy Gardner teaching credentials:

  • BFA degree in Music Dance Theater from Brigham Young University Provo, UT
  • Drama teacher at Heritage Academy 2016-2019
  • Music adjunct faculty at Mesa Community College 2010-2011
  • Guest lecturer at University of Florida Musical Theater department 2008
  • Music adjunct faculty at Brigham Young University 2001-2004
  • Joy Gardner teaching studio established 1999

PHONATION



VOCAL FOLD PRODUCTION
  • “Floppy” Vocal Folds:
    • "The frequency of vibration of the vocal folds is determined by their length, tension, and mass. As pitch rises, the vocal folds are lengthened, tension increases, and their edges become thinner. In other words, all three of these factors are in a state of flow in the transition from the lowest to the highest tones: length increases, tension, increases, and thickness decreases." McKinney, pg. 97

  • The Bernoulli Effect: (Demonstrate with lip buzz.)
    • "The vocal folds are tiny, fleshy lips that are blown apart by the breath and then flap rapidly together in a rolling motion, thus chopping the breath stream into fast pulses which we hear as singing or speaking. This interaction between the breath energy and the vocal folds is required for beautiful singing. It is critical to beautiful singing that the vocal folds remain as “floppy” as possible." Robison, pgs.128-132
    • "Using the Bernoulli principle the beautiful singer learns to harness the speeding air in such a way that it literally sucks the folds shut in a rolling motion immediately after it has blown them open. One can easily observe this opening & shutting at work by holding two flexible sheets of paper parallel to one another about an inch apart and blowing between them." Robison, pg. 129



  • Relaxing the laryngeal muscles:
    • The Imploded “k” Exercise: Chipman, pg. 24
      • Inhale on a gently imploded [k] sound. To create the imploded [k], start in a silent “ng” position. Then, as you inhale, the tongue drops down, creating a quick, soft [k] sound at the back of the throat. Feel the soft palate lift and the tongue release. 
      •  Feel the larynx release and descend into a lower, balanced position. (You may also feel a slight widening of the space between the thyroid cartilage and the hyoid bone.)
      • The inhalation on the imploded [k] should involve a feeling of release and openness. Maintain this feeling of release and freedom as you sing.
      • Think of the inhalation occurring below the larynx. Notice how this opens the throat and helps the larynx to freely descend.
Clayne W. Robison, "Beautiful Singing: Mind Warp Moments" (Clayne W. Robison 2001)
James C. McKinney, "The Diagnosis & Correction of Vocal Faults" (Waveland Press 1994)
Betty Jeanne Chipman, "Singing with Mind Body & Soul" (Wheatmark 2008)

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