RESONANCE...It is the resonance factor that amplifies the tone. There is no need to push with the breath---rather, energize the breath.
RESONATION- “Ring” and Overtones / Relentess Openness
- “Sound moves out from its vibrating source in a series of waves, filling any vocal resonator to which it has access. The singer feels vibratory sensations at certain places inside his body. Vibrations created by the vocal folds travel through air from the larynx into the cavaties of the throat and head, setting them into vibration. The vocal resonator is a column of air, whose shape is not only complex, but highly changeable. There are a number of factors which determine the resonance characteristics of a resonator: (1) size, (2) shape, (3) type of opening, (4) composition and thickness of the walls, (5) surface, and (6) combined resonators
- The vocal resonators are mainly the pharynx and mouth because of their location, size, and degree of adjustability. Pretend you are beginning a yawn, but do not actually go into a full yawn. Notice how your lower jaw drops free in its socket, notice the gentle lifting feeling in the area of your soft palate, notice that your throat feels deeper, notice the cool air moving easily through your throat, notice how deep in the body your breath goes without any effort.” McKinney, pg. 13
- “A singer cannot create a resonant tone by direct effort. Rather, resonance is the by-product of an open and free vocal tract coupled with sufficient breath energy. The primary resonating areas of the vocal tract include the space in the throat above the vocal folds, and mouth. Ideally, the singer prepares and opens the throat and other resonating areas with each inhalation. With the inhalation, the base of the tongue and jaw release, the larynx relaxes down and the soft palate gently lifts. This creates a longer and larger resonating column extending from the vocal folds up to the nasal area. I often refer to this resonating column as “back space.” When the singer prepares the back space (resonating column) and uses sufficient breath energy, the tone fills all of the open resonance areas which work together to amplify and project the tone. No conscious effort is needed to produce a forward tone. If the breath energy is sufficient and the vocal tract is properly open, the tone will naturally sound both bright and dark. As long as the singer keeps the back space, he cannot sing too far forward or bright.” Chipman, pgs. 46-47
- FACIAL POSITION TO ACHIEVE RESONANCE (begin to yawn)
- Cheeks squeezing your nose off your face (to elongate the pharynx by lifting the soft palate).
- The mis-conception that a singer must push the tone “constantly forward” pulls the voice out of the resonating tube, by-passing the wonderful back space that causes the warmth and ring. "Pushing" the voice forward causes a raised larynx, and the muscles of the throat to initiate the tone. When the voice is free, the tone automatically goes forward. There is no other place for it to go. Deliberately pushing it foward causes a stridency and edge to the tone. Chipman, pg. 40
- One way to change the resonance of the voice instrument without manipulating the vocal folds is to change the shape of the tongue. If the singer wants a more focused, intense resonance on the facial mask and sinuses, then change the tongue to an EE vowel position. The tongue will be higher in the back, touching the top molars. The tip of the tongue should be forward and down on the back of the front-bottom teeth. The resonance will not naturally travel high and forward on the facial mask and sinuses, creating a focused singing quality. Do vocal exercises on a head voice EE to feel this tongue and forward resonance position.
- 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.
- Lip corners pursed and forward (as if sucking on a large apple) to stretch the space open at the back of the pharynx.
- Keep your tongue forward as if tasting your bottom, lower teeth (this facial position is not natural, and so your tongue will want to pull back...do NOT let it!)
- “The tongue must NOT be pulled back into the throat to form any consonant or vowel. If it is pulled back far enough, it may tighten the surrounding areas of the pharynx, depress the larynx, and almost block off the lower pharynx; all of these results will hurt the quality of the sound, and the articulatory capabilities of the tongue will be limited.” McKinney, pg. 154
- “A singer does not have a separate instrument that he can see or touch while he is making music; the singer is a musical instrument. (Someone has said that the voice is the only musical instrument made by God.) Since he has no key or valves or fingerboard press, he must learn to depend on his own mind and body as singing guides. In addition to being a self contained musical instrument, the singer has another property which makes him unique. He alone of all the instruments has the ability to communicate meaning through word and tone. All performers can convey musical ideas through their interpretation of a piece of music. Only the singer can convey musical ideas and specific verbal messages. Because of this, it is essential that the singer learn to communicate words well; the only way he can do this is by mastering the skill of articulation.” McKinney, pg. 150
- “Some singers have the mistaken impression that singing a consonant will break the legato line. When consonants are quickly but distinctly pronounced they enhance the vowel and make the words understandable. Think of the vowel as being like a stream of water and the consonant as a finger passing through the water. It makes an indentation, but does not stop the flow. A critical element in articulation, consonants help focus and project the voice. They are the ‘doorway’ to the vowels.” Chipman, pg. 63
- “I sometimes compare the consonants to doorways between rooms, which represent the vowels. You don’t spend time in the doorway, but its presence is very important.” Oren Brown, “Discover Your Voice”
- Jaw hinge released throughout singing. (“The jaw goes down to the devil and the cheeks go up to the angels”)
- Pretend you are beginning a yawn, but do not actually go into a full yawn. Notice how your lower jaw drops free in its socket, notice the gentle lifting feeling in the area of your soft palate, notice that your throat feels deeper, notice the cool air moving easily through your throat, notice how deep in the body your breath goes without any effort. This process:
- Dropping the front of the jaw/chin creates a warmer quality of sound.
- Opens the pathway for a noiseless and almost effortlessly taking in of air.
- Positions the larynx in a comfortably low position, without tensing to do so.
- Increases the size of the throat vertically, by lowering the larynx, gently lifting the soft palate, and relaxing the constrictor muscles of the pharynx wall; relaxes the muscles controlling the articulators, thus freeing them for action. McKinney, pg. 131
- The reason that the jaw must be free to move at all times is that the amount of mouth space must be adjusted as you sing higher or lower, for different vowels, and change dynamic levels. McKinney, pg. 153
James C. McKinney, "The Diagnosis & Correction of Vocal Faults" (Waveland Press 1994)
Betty Jeanne Chipman, "Singing with Mind Body & Soul" (Wheatmark 2008)
