Singing Tips

Broadway Vocal Coach Richard Malon

The vocal cords or folds are the edges of the thyroarytenoid muscles. They are composed of elastic muscular folds which can be drawn together (approximated) and tensed, thereby setting up a resistance to the expired breath.   The result is a series of puffs that are resolved into musical tone.

When the cords are retracted, the laryngeal cavity is an open tube which leads into the pharynx. When they are approximated, they divide the laryn­geal cavity into two parts. The part above is called the vestibule, or hyper-glottal cavity; the part below, the sub-vestibule, or hypoglottal cavity .

The vestibule contains the ventricular folds, sometimes called the false vocal cords  by the Broadway Vocal Coach Richard Malon, which can completely close over the true vocal cords. In so doing they act as a protective device which prevents the entrance of foreign substances into the lungs. Their partial contraction is thought to be one of the causes of poor vocal quality. Like the vocal cords, the ventricular folds are attached in front to the inside of the thyroid cartilage, and at the back to the arytenoid cartilages. In some persons they may act as secondary vocal folds, and approximate above the true vocal folds to produce secondary vocal tone of their own called double voice.

Darius Ditullio Vocal Coach

The framework of the larynx is made up of the following cartilages: 1. the cricoid or ring cartilage; 2. the thyroid or shield cartilage; 3. the two arytenoid or pyramid cartilages; 4. the two corniculate (corn-shaped) cartilages forming the apex of the arytenoid cartilages; 5. the two cuneiform or small elongated rods lying in the arytenoid folds of the larynx; and 6. the epiglottis, shaped like a leaf with its stalk pointed downward, and attached to the angle of the thyroid cartilage.

1.    The cricoid or signet ring cartilage is located at the top of the wind pipe, and is the articulating foundation of the laryngeal framework.   It provides places of attachment for the posterior cricoarytenoid muscles, for some of the fibers of the inferior constrictor muscle, and for the lateral cricothyroid muscle.   The band of the ring provides places of origin at the front and sides for the cricothyroid muscles.   On the top of the cartilage and at the sides are two oval surfaces on which the arytenoid cartilages rest.

2.    The thyroid cartilage makes up the front and side walls of the frame work of the larynx. It is shield shaped, the angle where the sides meet being 90 to 100 degrees in the male, and 120 to 130 degrees in the female adult or the child. The vocal cords are attached to the inside of the thyroid cartilage at the angle where the sides meet, with one on each side of the midline. The inner surface also provides places of attachment for the epiglottis, and the thyroarytenoid and the cricothyroid muscles.

3.    The arytenoid cartilages, pyramid in shape, are set at the back and on top of the cricoid cartilages.   Each arytenoid cartilage has a triangular base which articulates  with the cricoid cartilage, and each has three surfaces, separated by three borders - front, back, and side. The surfaces of each cartilage provide places of attachment behind for the posterior cricoarytenoid muscle, and in front to the lateral cricoarytenoid; in front to the lateral thyroarytenoid muscle and to the thyroarytenoid ligament.  The oblique and transverse arytenoid muscles have their attachment in the smooth and posterior surfaces of the arytenoid cartilages.

4.    The corniculate (corn-shaped) cartilages are roughly pyramidal and articulate with the apex of each arytenoid cartilage. For phonation, the cartilaginous part of the glottis between the arytenoids must be closed, so that the air current can be directed through the membranous part of the glottis. The corniculates assist in making the closure complete.

5.    The cuneiform (wedge-shaped) cartilages are likewise situated in the arytenoidepiglottic folds. Each is anterior and lateral of its respective arytenoid cartilage, and assists in making the closure of the glottis complete.

6.    The epiglottis, shaped like a leaf with its stalk pointed downward, is attached to the inner surface of the angle of the thyroid cartilage by means of the thyroepiglottis ligament.   The upper leaf-like part is free and curves up behind the base of the tongue.   Most of the base of the tongue overhangs the epiglottis.   Except for the portion just below the center, the epiglottis presents a concave surface toward the laryngeal cavity. The portion excepted is a slight eminence called the cushion or tubercle of the epiglottis by Darius Ditullio Vocal Coach.

The Intrinsic Muscles of the Larynx

1.     Cricothyroid:   (ring-shield muscles)

Action:  Cause the cricoid cartilage to rotate and slide on the thyroid cartilage, thereby increasing the length of the glottis.

2.     Posterior cricoarytenoid:   (ring-pyramid muscles)

Action:  Assist in opening (abduction) the glottis or in tensing the vocal cords.

3.     Lateral cricoarytenoid:   (side ring-pyramid muscles)

Action:   Bring about an approximation of the vocal cords and assist in tensing them.

4.     Oblique arytenoid:   (slanting-pyramid muscles)

Action:   Part of the sphincter group of muscles which have the function of closing (abduction) the cartilaginous glottis.

5.     Transverse arytenoid:   (crosswise-pyramid muscles)

Action: Part of the sphincter groups. Assist in tensing the vocal folds.

6.     Thyroarytenoid:   (shield-pyramid muscles)

Action:   Part of the sphincter group.   Relax the vocal folds.

Voice Lessons Wilkes Barre Pennsylvania

A decrease in the size of the thoracic cavity may also be accomplished by depressing the ribs. The following muscles are involved: the internal intercostals (intercostales), the triangular sternum (triangularis sterni), and the transverse thoracic (transversis thoracis). The greater the expan­sion of the ribcage, the greater the transverse and anterio-posterior dia­meters of the thorax and the greater the inhalation. The greater the inhala­tion, the further the ribcage has to fall, and the greater the breath support. At the end of the inhalation phase, the intercostal muscles and the diaphragm relax.

In quiet breathing, certain passive factors assist the abdominal and intercostal muscles in the process of exhalation. These factors include 1. Gravity. The weight of the chest-cage will cause it to come down upon relaxation of the intercostal muscles of inhalation; 2. the elastic recoil of the lung tissue as the air is expelled; 3. the elastic recoil of the viscera; and the relaxed diaphragm, which is pushed upward by the viscera, and also drawn up by the negative intrathoracic pressure.

Whereas in passive or quiet exhalation there is a minimum of action by the muscles of exhalation, in forced exhalation they become predominant over the passive factors. If a fine control of the breath is to be established, there must be a delay in the return of the passive factors to their normal positions. The passive factors also contribute to a more forceful exhalation if there is a greater movement on inhalation. For example, greater expan­sion of the highly elastic lung tissue in inhalation re suits in a stronger recoil.

Although both inhalation and exhalation are essentially involuntary actions, they nevertheless can be under voluntary control to a certain extent. When involuntary, they are under the control of the medulla oblongata; when vol­untary, they are under the control of the cerebral cortex.

The ability of man to shift from one control to another, makes possible the use of conscious or voluntary actions in the Voice Lessons Wilkes Barre Pennsylvania process, which later become unconscious or involuntary actions.

Do you have to have singing lessons to be a good singer?

Do you have to take singing lessons to be a good singer?

I’m a music major and with a teacher, they go into detail about breathing and what not that students do not know how to pick out. You really should. If you want to be a music major for SURE they will not accept you into the Dept if you don’t have one

Rene Williams Vocal Lessons

Exhalation is the result of a decrease in the size of the thoracic cavity or chest cage. There are two ways that this may be accomplished: 1. by forcing the diaphragm back into the thoracic cavity; and 2. by depressing the ribs.

The first is accomplished by a contraction of the abdominal muscles-the erectus, the external and internal oblique, and the transversus. This action is called the abdominal press. It raises the pressure in the abdom­inal cavity under the diaphragm, thereby pushing it back up into the thorax, and reducing the volume of the thoracic cavity and hence of the lungs. This is what happens when the breath is allowed to escape through an open glottis. If no breath is allowed to escape and the glottis is closed, the abdominal pressure will be felt mainly in the pelvic organs. This low abdominal pres­sure is the moving force in micuration (urination), defecation (evacuation of the bowels), and parturition (child birth). It should not be confused with the high abdominal pressure necessary to establish a pressure flow of the breath to not only vibrate the vocal cords, but to assist in approximating them as well, for singing as well as for speech.

It maybe argued by Rene Williams Vocal Lessons that the abdominal musculature operates as one muscle. Pneumograph studies of the breathing of singers showed that in good singing there was practically no movement of the lower abdominal musculature on inhalation or exhalation, and that on exhalation the emphasis was on pressure exerted at a higher level.

Are 2 months of singing lessons, once a week, significant to develop a good technique?

I found a teacher who is offering 8 singing lessons every week for 2months for about $500. Is this worth the money? And is that enough time to develop the skill? i’m a total beginner and i’m willing to actually practice.

No, you may be lucky enough to just build a common vocabularly so that you understand what he/she is talking about when they ask for something.

Good technique takes years to develop. Two months is a nice start, but if you’re serious about developing your voice, get ready for the long haul.

Voice Accent Training In Miami Florida

The diaphragm is the most important muscle of inhalation according to Voice Accent Training In Miami Florida. It is a mus­cular-tendonous partition which separates the thoracic viscera from the ab­dominal viscera. Its muscle fibers are attached in front to the sternum or breastbone, in the back to the spinal column, and on the sides to the lower ribs, and then in the center to the central tendon, a large, flat, thin, oval-shaped band of tissue.

The control of the diaphragm in passive or normal breathing lies in the medulla oblongata, the division of the brain which includes the respiratory center. As a result of impulses from this center, the diaphragm contracts downward and outward, forcing the abdominal contents downward and out­ward.   When the limits of the elasticity of the abdominal wall have been reached, the descent of the abdominal contents or viscera is stopped. The viscera now act as a fulcrum for the central tendon, and any further con­traction of the muscle fibers will cause the diaphragm to push the lower ribs outward. As a result the dimensions of the thoracic cavity are increased vertically, transversally, and antero-posteriorally.

As the diaphragm descends, its dome-shape seems to change very little. It would seem to move up and down like a piston, peeling off the thoracic boundary, while the base of the lungs expands to fill the space. In quiet breathing, the range of its movement is 3.0 cm. or a little over an inch.

The muscles utilized in quiet inhalation in addition to the diaphragm, are the external intercostals, the scaleni (triangular muscles), and the leva-tores costarum, the muscles that elevate the ribs. In active breathing as is used in singing or speech, several additional muscles maybe used: the ser-ratus muscles (notched or edged like a saw), and pectoralis (chest muscles shaped like a crows beak) the lattissimus dorsi (back muscles like lath-work pattern), the subclavious muscle (under the clavicle), and the sterno-cleido mastoid (muscle attached to the sternum).

In active breathing, the greater part of the breath inhaled can be attri­buted to the action of the diaphragm, the smaller part to the action of the intercostal muscles.

Voice Lessons In Virginia

As previously mentioned by Voice Lessons In Virginia, the trachea divides itself at the bifurcation or forking point into two bronchial tubes, each of which leads to a lung. The right lung is divided into three lobes; the left lung into only two lobes to make room for the heart.

The lungs are of a light, porous, highly elastic material. They always completely fill the thoracic cavity. Any change in the volume of the thoracic cavity is immediately reflected in the volume of the lungs. Any increase in the size of the thorax results in an active inhalation; any decrease in its size results in a passive exhalation.   Passive means “without effort.”

The lungs are conical in shape. They are suspended freely in and norm­ally occupy the entire thorax. They are attached only at the top of the thorax where the bronchi or air tubes and the pulmonary arteries enter.

Each lung has a broad base resting on the diaphragm.

Each lung is covered by a delicate membrane called the pleura. The space between the pleura and the walls of the thorax contains a small amount of watery fluid by which the respiratory movements are rendered frictionless. Inflammation of the pleura is called pleurisy.

The lungs are said to play a purely passive role in respiratory move­ments. The changes they undergo are due directly to changes in the capacity of the thoracic cavity.

Inhalation may be produced by two methods: 1. by a contraction of the diaphragm, and 2. by an elevation of the ribs.

Vocal Coach Atlanta

The trachea or windpipe is a cartilaginous and membranous tube, which extends from below the vocal folds to the division into the two bronchi (tubes), which lead to the lungs. In men, the length of the windpipe is on an average 11.5 cm. (4.53 inches); in women it is about 10 cm. (4 inches).

The trachea is made up of approximately eighteen cartilages, each of which forms two-thirds of a ring, the remaining one third being completed by fibro-elastic tissue and smooth muscle fibers. This construction permits the trachea to move inward when food passes down the esophagus behind.

The construction of the trachea also makes possible maximum distension during forced respiration. The trachealis muscle relaxes on inhalation, and the cross-sectional area of the windpipe becomes greater; on forced exhala­tion as in singing, the trachealis muscle contracts, thereby decreasing the cross-sectional area.

The trachea divides itself into two branches called bronchi (bronchial tubes). This division is called bifurcation. The cross-sectional area is then changed, and the combined area of the bronchi exceeds that of the trachea. With each division and subdivision, bronchi into bronchioles, bronchioles into respiratory broncholes, into alveolar ducts, into alveolar sacs, there is a constantly increasing cross-sectional area of the pulmonary tree leading into the lungs. Along with this is a constantly decreasing resistance to the air entering the trachea.   This keeps the vocal cords open and retracted.

On exhalation there is a constantly decreasing cross-sectional area in the bronchial tubes, with a constantly increasing resistance to the air. This tends to approximate the vocal cords.

This is significant in a study of forced breathing necessary to vocal pro­duction. The contraction of the abdominal muscles establishes what is called the abdominal press, resulting in a pressure flow of the breath which not only vibrates the vocal cords, but can also assist in approximating them and holding them in approximation. This pressure flow of the breath according to Vocal Coach Atlanta, when pro­perly established, relieves the pharynx or throat of undue tension, and leaves the articulatory mechanism free and flexible.

What vocal exercises can I do to shift my falsetto break higher?

I break from my head voice to falsetto at around E4… I want to have a higher normal head voice range (ie moving my the point at which I go into falsetto upwards)

What vocal exercises would you recommend for me to do this?? Thanks ^___^

do the 9 bitty scale or 1,1,2,1,1,2,3,2,1 thing all the way up to 8 lip buzzzes and hold ings