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Down and Dirty with the Larynx
How low should singers go with their larynx?
Dear Leontine,
I’ve read that it is advantageous to have a low larynx and noticed that when I reach for a high note, I often tighten my throat and my larynx also moves up. I sound more consistent when I can get my larynx to stay in one place. Therefore, I want to understand if I can have more conscious control over this process.
Thanks,
Ashley
Dear Ashley,
If you lower your larynx too much, you will find that you start sounding quite “classical”, which may not be your desired effect.
Play around with singing the same pitch with both a low and a high larynx.
You will find that it sounds almost as if you are singing a different pitch, even though you are not.
A very high larynx will make you sound “Disney”; a low larynx will make you sound more mature and, if you take it to an extreme, give you a lot of vibrato.
I think it will help you if we look a little more deeply at the theory—and then I will share a practical suggestion at the end.
The primary function of the larynx is to close when we swallow, stopping food from going down our windpipe.
When you swallow, your larynx rises—if you hold on to it gently, you will feel it.
The parts of the larynx which “close” are the false folds; these are a pair of thick folds of mucous membrane that offer protection and sit slightly superior to the more delicate true folds (red and “fleshy”).
The true folds vibrate to produce sound when you sing.
Now, when you sing high pitches, as you have correctly observed, your larynx rises.
As the larynx is programmed to start closing in order to prevent you from choking on a swallow; the larynx does not know the difference between an impending swallow and a high note!
Although this is most irritating, the good news is that the second most powerful maneuver for the larynx, after the swallow, is laughter.
Unless you have a tight, constricted laugh, laughing retracts the false folds.
If you imagine very hard silent laughter, you will find that there is a feeling of “space” in your throat—practicing this “retraction” is important, especially on high notes.
One way of practicing it is to hold your ears closed, and to breathe in and out of your mouth; if you are relaxed, you will hear your breath moving in and out.
Now imagine hard silent laughter, and you will find that your breathing becomes silent.
This means that your false folds are quite retracted— a good place from which to sing.
Retraction takes a little practice, and if you are normally quite constricted, it can be require much effort and ache slightly.
Although your larynx has to rise on a high pitch, it is absolutely possible to keep it in a slightly more neutral position as you go higher in your range.
The lower your larynx is, the longer the tube or space between the larynx and your soft palate is.
Essentially you are turning yourself from a piccolo into a flute; the sound will be warmer and rounder.
Good luck with experimenting!
Leontine Hass
Director, Advanced Performers Studio
www.associatedstudios.co.uk
Questions for Leontine Hass can be sent to the VoiceCouncil editor: editor@voicecouncil.com
I’m Sounding Flat!
Escaping the “flat” tone is essential for all vocalists. Leontine Hass shows the way…
Dear Leontine,
I have been singing for a little over a year now, and although I have good tone and decent range, my sound seems to be “flat”. Is there a way I could “brighten” my sound without sounding like most other singers?
-Nick
Dear Nick,
Some singers sound flat even when a mic inserted into the larynx would indicate they were perfectly in tune.
I am going to give you two physiological explanations of what is happening and suggest some exercises to push your singing towards greater excellence in this area.
So, why might you be sounding flat? There are not enough upper harmonics in your sound.
The first cause may be that your soft palate is “lazy”.
As there are hardly any sensory nerve endings in the soft palate, it is difficult, though absolutely necessary, to teach singers how to lift it.
If you slide your tongue along the roof of your mouth you will first feel the hard palate, and then the soft palate.
The soft palate has two important muscles: the tensor palatini, which tenses it, and the levator palatini, which lifts it.
Having a lazy palate is a bit like a guitar with a soft body rather than a nice hard body, giving the sound waves something to bounce off against.
Your soft palate is a bit like the singer’s sounding board: when the palate is low and lazy, sound comes out of the nose; when it is lifted, it closes the hole to the nose and in professional singers can lift like a “Dome of St Paul’s”, giving beautiful resonance and upper harmonics.
Jaw and tongue tension as well as nasal regional accents such as “South London” encourage lazy palates; some beginning singers sing nasally as they can unconsciously hear themselves better this way.
Exercises such as repeated “Ging Ging Ging’s” all the way up the scale will help you.
The higher you go in pitch, the harder it is to lift your palate—another good exercise is to sing through your songs holding your nose, trying to sing so that the sound is not nasal.
Bear in mind that nasal consonants such as N’s and M’s will be nasal in any case.
It would be worth having a session with a good vocal coach and addressing the palate.
Now for the second possible cause: you may be sounding flat if you are not “tilting” enough.
Tilting feels like crying.
The ’tilt’ of the cricoid cartilage stretches out your vocal folds, enabling higher pitches.
Sing some scales where you imagine that you are sneering (lifts palate) and crying (tilts vocal folds) at the same time, imagining you are imploding and singing backwards into the back of your head rather than pushing the sound out. Sounds silly, but it works!
Also concentrate on approaching the sound from “above”, rather than from “below”. Place consonants right on the pitch, no upward gliding (no portamento).
It is very important to understand how it FEELS when you get it right and this is something you can only discover over time with a good vocal coach.
Sincerely,
Leontine Hass
Director, Advanced Performers Studio
www.associatedstudios.co.uk
Questions for Leontine Hass can be sent to the VoiceCouncil editor: editor@voicecouncil.com
I Need Some Vocal Tricks
Leontine Hass warns singers that there’s a price to pay for cutting corners with the voice…
Dear Leontine,
I’m currently struggling vocally and it’s driving me nuts! I sing with lots of belting, at least three nights a week, not including rehearsals. My voice gets to the point where I can’t reach my range; it sounds raspy and sometimes goes altogether. I don’t know what to do! What tricks can you recommend?
-Christy
Dear Christy,
That does not sound good at all; there are certainly “tricks” but I feel that at this stage, you need to get yourself to a laryngologist a.s.a.p.
Once a camera has been put down your larynx there will be no more guessing and it’s a very quick and painless way of having a good look at your vocal folds.
If the folds are fine, then you can relax and proceed with maintaining good vocal health and practice; if, however, they are swollen, you may have acid reflux and need some medication. If there’s anything worse, this exam will lead to the correct therapy.
Do not delay; ask your Doctor for a referral—there are many good laryngologists and you should find one in your area.
If you are spending most of the time belting, you must balance the muscular activity of your voice and vocalize using your “thin” folds or “head-voice” for at least ten to twenty minutes every day.
This will stretch your folds out again, which is vital, given that you have been belting constantly (which means that your vocal folds have been vibrating on a very thick edge).
Imagine heavy weight lifting without stretching: the muscles involved become painful as they have not been stretched out again—it is similar with the voice.
Warm up your voice by doing lots of sirens and lip trills; gliding exercises are very good for the voice but make sure there is no tongue and jaw tension.
Steaming will hydrate your folds; use pure boiled water in a bowl (towel over the head) for twenty minutes every day, breathing in through the mouth.
You ought to see a singing teacher as it can be established fairly quickly as to whether there is a problem with your technique and/or your actual vocal folds.
Huskiness and loss of range are fairly good indicators that the folds are swollen, in need of rest…and in need of examination.
So, Christy: no tricks for you at this stage of the singing game.
Best wishes,
Leontine
My Vocal Career Has Stalled.
Leontine Hass tells singers: “Stop being worthy but damnably uninspiring. Be astonishing and allow your audience to observe glorious talent and commitment.”
Dear Leontine,
Work has slowed down for my band (for which I am the lead singer). Usually when this happens I just get going, join other groups, push myself to do some open mics and solo gigs. But I’m doing nothing. I wonder if I just need a break? This lapse of action hasn’t happened to me before – and I really do want to build my career. Instead I’m watching DVDs. Sorry if this isn’t a vocal-coach kind of subject.
Louise
Dear Louise,
This is a good question and something I deal with constantly in my work with singers: how to stay motivated and inspired when times are tough?
First of all – it may be harsh, but if you cannot “erase and continue” and get back up after falling off the horse, you are not made for this business.
Go somewhere quiet or lock yourself away for a few hours. Think. Figure out what you want, your objective. You may have several. Allow yourself to dream. Your biggest dreams: what are they? What is important and meaningful to you? If the answer is to be a famous singer in a band then stop watching DVDs.
Go to some inspiring concerts. Write a list of things you need to get done. Possibly find a new manager. If you do not have a manager, find one – or find a good vocal coach. Swap a day with another singer and manage each other for a day. Write e-mails. Get your publicity organized. Practice. Practice harder. Write songs. Read great books. Check out that you are not suffering from depression as this can bring on lethargy. Go for runs and exercise to get motivated.
Don’t kid yourself. Competition is fierce. However, you must get to the very bottom of what is going on with you first. Is it an unspoken conflict with another band member or perhaps a feeling that things, as they are, will never progress in the way you would like? Then change it. Take charge. Form a new band if you have to. Broaden what you do as a singer. Try other genres.
And go for it.
Don’t be worthy but damnably uninspiring. Be astonishing and allow your audience to observe glorious talent and commitment.
Allow them to see your soul. Anything less is not good enough.
Leontine Hass
Director
Advanced Performers Studio
www.associatedstudios.co.uk
Questions for Leontine Hass can be sent to the VoiceCouncil editor: editor@voicecouncil.com
Husky, Phlegmy Voice – Yuck!
Vocal Coach Q & A with…
Leontine Hass
This week Leontine answers a question on how to overcome a “tight” and “husky” voice.
Husky, Phlegmy Voice – Yuck!
Dear Leo,
Just lately it’s been taking ages for my voice to warm up in the mornings. I find that my voice feels very tight and husky all morning and I can’t sing any high notes until later in the day. I also suffer from phlegm which gets in the way when I sing. Have you got any advice? – Sarah
Dear Sarah,
Your symptoms sound like signs of acid reflux.
It would be a good idea for you to go and visit a good laryngologist and have a little camera put down into your larynx – it sounds hideous but it’s actually simple and painless! Precisely what is going on can then be established.
Reflux occurs when the acid in the stomach (which is naturally secreted to break down food) leaks back up the esophagus and bathes the vocal folds in acid.
Symptoms of reflux include heartburn and having an acidic taste in the mouth or a “huskiness” in the voice, particularly early in the morning.
Singers suffering from reflux often find early-morning vocalizing difficult as their vocal folds tend to be swollen and reddened. This can be clearly identified when being ’scoped’ by a laryngologist.
To avoid or to ease the symptoms of reflux, try not to eat too late in the day – no later than three to four hours before you go to sleep, and avoid drinking too much alcohol.
Spicy, fatty and rich foods, as well as chocolate are best avoided.
Stress is also a major contributor to the onset of acid reflux so anything which helps you to handle your stress-levels is positive.
It also helps to elevate your mattress, with books or anything you can lay your hands on, so that your head is physically higher than the rest of your body. This position makes it more difficult for acid to reach your larynx.
If after taking these simple steps your symptoms do not improve, it would be worth you seeing a laryngologist or GP who may prescribe acid-suppressing drugs.
Leontine Hass
Help! My Voice is Getting Worn Out!
Vocal Coach Q & A with…
Leontine Hass
This week Leontine answers a question on how to sustain a tough vocal regime on the stage.
Dear Leontine,
I am currently singing in a touring musical theatre show. We are performing 18 shows a week (!) and I’m worried about my voice. It doesn’t feel the way it normally does and I have little vocal stamina. I still have about a month to go and I am not sure how I can sustain this. When I belt (and I have to a lot) it feels strained and not in the right place. Do you have any advice?
–Cassy
Dear Cassy,
Eighteen shows in one week is a tall order for any singer, especially if you have to belt a lot! Belting is a very intense muscular activity for the larynx and the vocal folds. The vocal folds are short and fat when in belting mode so try to balance this activity with plenty of ‘thin fold’ (head voice) singing during warm-ups and cool-downs, before and after each show, to stretch the folds again. Even though you are singing a lot, it’s very important to keep the muscles flexible by regular vocalising. This means that sirening on an ‘ng’ all the way up and down your vocal range is vital. You should also do some scales in head-voice, taking the voice as high as you can without straining. It’s important to do these exercises every day, even if it is only for a few minutes each time. This will keep the muscles healthily flexible, just like a ballet dancer doing stretches before and after a show.
Watch that your belt is placed correctly. It is always a good idea to spend a couple of minutes each day performing tongue exercises; sticking the tongue out and holding it until it aches a little will help to ease tongue root tension. Tongue root tension is a danger for belting as your larynx needs to be in a fairly high position and if the tongue is forcing the larynx down, belting becomes more difficult. Make sure you are supporting like mad and hold back the breath pressure! You need very little air to belt as the vocal folds are closed for around 70% of the cycle, which means that any excess air pressure under the vocal folds will make belting efficiently and healthily much more difficult. If you feel that you have lost a sense of the correct position for belting, it would be a good idea for you to arrange a session with an experienced vocal coach to remind you how it should feel. Singers should be able to sustain a healthy belt, even for a couple of shows a day.
We also need to talk about reflux – watch my column in coming months – but in the meantime read this: How to Trash Your Voice
I hope that helps you Cassy!
Leontine Hass
Vocal Coach
Director of Advanced Performers Studio
Your Chance for Insight on Vocal Challenges
This is your opportunity to ask questions on singing issues
Leontine Hass invites you to e-mail her questions on any singing issues which could range from vocal technique and voice problems to psychological challenges which affect you vocally.
Leontine Hass is an experienced vocal coach specializing in teaching contemporary pop/rock/musical theatre singers (many of whom are performing in London’s West End). Leontine has a busy private practice in London and is the Founder/Director of the Associated Studios and the Advanced Performers Studio, a studio for professional actors and singers. She is embarking on a lecture tour in August, giving master classes in Singapore and Australia.
Send your questions for Leontine to the VoiceCouncil Editor
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