Tag Archives: larynx

Position of the larynx

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Speech Level Singing has been given a bit of a bad rap when it comes to the position of the larynx. Let’s review.

First of all, our larynx has a default position when we speak. Everyone is different. My larynx rises ever-so-slightly when I speak. I just happen to have a slightly “twangy” speaking voice.  I can speak (and sing) with my larynx lower, but that is not my “default” position or my most-natural position.

Some people incorrectly think that Speech Level Singing demands a “low” larynx. This is not the case. SLS simply achieves a larynx that is “neutral” when singing….in other words not too high, and not too low.

I think this is a great way to train the voice. Good singing starts with balance. Balance is the ability to sing your entire range with a relatively neutral larynx.

Then comes style and your signature sound. And, yes, your larynx will rise a little when you belt.

 

 

 

 

You can control your larynx!

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Your larynx is your voice box. It houses your vocal cords. It’s situated in behind the Adam’s apple which is that bump you feel in your throat…you know, the bump in your neck that is usually larger on a guy than a girl.

Good singing technique requires that the larynx remains low and stable. So go ahead and try this.  Put your finger on your Adam’s Apple while singing and see if it is rising when you try to sing high notes. In many singers it does go up….way up! The problem is that when your larynx rises too high, it closes off your wind pipe which is, in fact, blocking your vocal cords! This is the last thing you want when singing.

This is what is meant by singing with an open throat. Good technique is having the ability to sing while keeping your larynx in a low and stable position.

How to sing with a low larynx…

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I can still remember having trouble pronouncing the word “larynx” when I first started SLS training. Even though I had studied the voice for years, other teachers hardly ever talked about that funny little bump in the middle of my throat. Once I started studying Speech Level Singing and other modern vocal techniques, the larynx was one of the many topics I began to understand in better detail.

If your current voice teacher can’t or doesn’t explain to you why you are doing certain exercises, then there is a good chance he/she doesn’t actually know. I did exercises for years, without being told why or understanding why. Now, I always explain to my students why and what we are working on.

Keeping your larynx (your voice box which encases your vocal cords) stable and reasonably low is highly recommended when singing. It ensures a healthy and relaxed mode for the voice, especially as you sing higher.  I love this video…you can watch Brett Manning from Singing Success manipulate his larynx here with different sounds. http://www.youtube.com/user/SingingSuccess?ob=0

The yawn works wonders. I like to use woo, woo, woo on a 1 1/2 octave scale with the low larynx. The student keeps a finger on the Adam’s apple to feel the changes as the notes get higher. There are a few things to watch for as you progress from the exaggerated low larynx to a more-neutral position. This is why it’s so important to have a trained coach watch you do the exercises.

If you can relax and sing freely with a low larynx with the woo woo woo exercise, then you should notice that your jaw feels very loose (even as you get higher). It should be able to bounce (move up and down) slightly as you pronounce the word “woo”. If you feel your jaw fighting you and wanting to stay still, then you are not truly free. Lessen your volume, don’t worry about your sound, and simply say “woo” in that yawny-feeling. Keep a pouty, relaxed, mouth. Visualize the word “woo” as tall and thin. Remember, your job is not to “sound good” during the exercise. Your job is to understand and remember the feeling (assuming you are doing it correct!).

Once you can sing this with a relaxed jaw, you can then switch to goo goo goo to ensure the cords are staying connected through your bridges. Notice, the narrow oooo vowel should make the transition to your high register fairly easy. Then try switching to “go, go, go” and finally “gee, gee, gee”. Keep the same easy feeling that “woo, woo, woo” established, and go back to this if you’re having trouble. If you find these easy, then move on to “ba, ba, ba” and “na, na, na”.

Give these a try and let me know what you think. How does it feel to you? Can you sing through your songs any easier after vocalizing with a low larynx?

 

The larynx….an interesting subject….

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As I study various singing methods, I realize that we are all trying to invent the same wheel safely…. just a little differently.

I want to talk today about one of the differences I see in Speech Level Singing and some other modern contemporary singing methods.

The subject on hand is the larynx.

From my experience with SLS, the larynx needs to remain stable and reasonably low (or neutral) as you ascend in pitch. However, in some contemporary methods it is said that the larynx will rise as the pitch ascends, especially around E flat above high C for women and A flat below high C for men. This is typically where the male and female 2nd passaggi are, or in other words the 2nd “gear change”.

This intrigues me and I explore it with most of my students.

In my studio, those who sing more “classically” are encouraged to keep their larynx low in song. This allows them to ascend higher with a nice warm, full and open classical tone. These singers have up to five octaves when vocalizing.

On the other hand, my students who sing rock and country in song are encouraged to monitor their larynx and surrounding muscles to ensure that there is no undue tension as they ascend into their 2nd passagio. The larynx will rise a bit as they belt out above their 1st passagio in song. However, they are encouraged to vocalize with a neutral larynx, which allows them to exercise in 5 to 6 octave ranges.

ALL my students under 16 are encouraged to sing with a neutral larynx, and a full balanced voice in exercise and in song.

The rising of the larynx is an interesting discussion among vocal teachers.

Is it safe and OK for the larynx to rise in rock/pop/belt singing? What do you think?

Less is more….

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Hi Everyone,

Less is more….so what am I talking about?  Well, a few things really.  Did you know that you need LESS air to sing high notes…not more. Most people use way too much air when they sing high notes. This engages the outer muscles around the vocal cords which causes fatigue and strain. Singing high notes should feel easy. When a singer is grimacing with the look of strain (not to be confused with emotion), you can bet he/she is using muscles outside of the voice box, and their larynx is probably rising as well. Ideally when singing, the larynx should remain relatively stable, and the singer should be able to reach any note without throat muscle interference.

In the words of Seth Riggs, founder of the SLS technique, you need to allow the vocal cords to do the work. That is, as you singer higher, the vocal cords should simply “zip up” and use less air.

The SLS technique will teach you how to do this.  But first, you may need to back up. You may need to do less. You will need to know your habits. You need to know what is working and what isn’t. A good SLS teacher will tell you this in the first lesson. Then you will be able to sing well in any style of your choice! Check out www.speechlevelsinging.com for a certified teacher near you!