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    10 Common Voice Problems

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    10 Common Voice Problems

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    El Ghali
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    10 common voice problems.

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    © © All Rights Reserved

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    10 common voice problems.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    100 views3 pages

    10 Common Voice Problems

    Uploaded by

    El Ghali
    10 common voice problems.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 3

    lne iu Most Common Probiems ot Singers Page I of3

    Center For Voice Disorders


    of Wake Forest University

    TI{E 10 MOST COMMON PROBLEMS OF SINGERS

    In dealing with the physical production ofthe singng voice, one en@unte$ many problems, aII of
    which se intenelated, and often addressed simultaneously. The ten problems listed below are
    prevalent in different t),pes of singers, regardless oftraining and orperience.

    1. POOR POSTURE: The efficient alignment ofthe body is of primary importance to voice
    production. Problems in posnre range from ncollapsen ofthe chest and rlb with conesponding
    downward nfalln ofthe head and neck, to the hlper-ortende4 "stifl posture ""gg
    of some singers, that
    results in tension throughout the entire body. Effective poshre evolves from the kinesthetic
    awareness, that may be developed through the study of a physical discipline zuch as Hatha yoga or
    Alexander Technique.

    2. POOR BREATIIING AI{D INAPPROPRIATE BREATII SUPPORT: Some


    beginning voice students seem to "gaspn for ar, and extribit clavisular or shallow breathing patterns.
    Trained singers, on the other hand, use primarily diaphragmatic breath support. The muscles ofthe
    lower back and abdomen are consciously angage4 in conjunction with lowering of the diaphragm. As
    the breath strearn is utilized for phonatiorl there should be little tension in the larynx itself.
    Sometimes, in an attempt to increase loudness (projection), awell-trained singer may over- zupport
    or npush" the airstream. This extra effort may affect vocal quality by producing undesirable
    harmonics.

    3. IIARD GLOTTAL OR "ASPIRATE" ATTACK: "Attackn or "onset" (a preferable


    term for singers) occurs with the initiation of phonation. Some singers (possibly related to poor
    speech habits) use a glottal attaclg which is too hard (produced by to much tension in closure, hyper
    adduction. Vocal cord nodules may develop with habitual use of a hard glottal attack. The opposite
    problem is the "aspiraten attaclq in which excessive air is released prior to phonation. While this tlpe
    of attack rarely damages the vocal cords, it causes a breathy tone quality. (This technique may,
    however, be utilized to help correct a hard glottal attack).

    4. POOR TONE QUALITY: Many terms are commonly used to describe a singer's tone, and
    among those faniliar to singers are: clear, riclq resonant, bright, . . . darlq rough" thirq breathy, and
    nasal. Althougfu ngood tone" is highly zubjective, according to the 6pe of singng and personal
    preference of the listener, in general, a tone that is nclear" (without extra "noise") and "resonant"
    (abundant in harmonic partials) is acknowledged as 'healthy" and naturally will have zufficient
    intensity for projection without electric amplification. Opera singers strive to develop a "ringn
    (acoustic resonance at 2,500-3,000 Hz), that enables the voice to projec't over a full orchestr4 even in
    a large hall. However, for other styles of singing the use of amplification may allow a singer the
    choice of employing a less acoustically efficient vocal tone for reasons of artistic expression. A
    tne ru Most uommon rroolems ot Dmgers P8$e./ or:
    breathy tone, for example, may be perceivd by the listener as "intimaten or "sexy", and even a
    'roughn soun4 zuch as was used by Louis Armstrong (false.vocal cord voice), may represent a t}re
    unique persona of a performer.

    5. LIMITED PITCH RANGE, DIFFICULTY IN REGISTER TRANSITION: AII


    singng voices exhibit an optimal pitch range. Typically, untrained voices have narrower pitch range
    than trained singers, due to lack of "register" development. The term "register" is used to describe a
    series of tones that are produced by similar mechanical gestures ofvocal fold vibration, glottal and
    nheadu
    pharyngeal shape, and related air pressure. Some cornmon designations ofregisters are the
    register, nchest' register, 'falsetto", etc.

    Singing requires transitions from one register to another; each ofthese transitions is called a
    'passaggion ("passageway'). Lack of coordination ofthe laryngeal musculature with the breath
    support may resrlt in a "register breakn, or obvious shift from one tone quality to another. Untrained
    nbeltersn
    male voices and female tend to 'breaku into falsetto/head voice in the upper range.
    Regardless ofthe style of singing a nblendn, or smooth transition between the registers is desirable.

    6. LACK OF FLEXIBILITY, AGILITY, EASE OF PRODUCTION,


    ENDLJRANCE: Traditional voice training in the lSth-lgth c€ntury "bel canton ("beautiful
    singng") method places emphasis on vocal flexibility or agility - for example, the singer's ability to
    o(ecute rapid scales and arpeggios. Virtuosic technique demands excellent aural conceptual ability,
    coordination of an abundant airstream with energetic diaphragmatic support (sometimes perceived as
    npulsations
    ofthe epigastriumn), and clear, resonant tone quality. The use of rapid melodic passages
    in vocal training helps to develop a relored, yet vital voice productiorq that contributes to the
    development of increased vocal endurance.

    7. POOR ARTICULATION: Pronunciation with excessive tension in the jaw, lips, palate, etc.,
    adversely affects the tonal production of the voice. Problems of articulation also occur when singers
    carry certain speech habits into singing.

    The longer duration of vowel sounds in singing necessitates modification of pronunciation; the
    increased nopening" of certain vowels in the high soprano voice, or elongation of the first vowel in a
    nl") need
    diphthong are examples. Retroflex and velar consonants (such as the American nr" and
    careful modification to allow sufficient pharyngeal opening for best resonance, and the over
    anticipation of nasal consonants (nm", "n", "ngn) may result in a'stifl soft palate and unpleasant
    tone.

    8. LACK OF DISCIPLINE, COMMITMENT, COMPLIANCE: As any athlete


    knows, regular practice is essential for optimal development and performance. Unfornrnately, the
    nartistic temperament"
    need for disciplined training is not always apparent to singers. Furthermore,
    may contribute to a lack of compliance with the advice of teachers on issues ofvocal technical
    development. When a teachers advice is contrary to a singer's own established ideas and work habits,
    the singer may tend to overwork, overperfornr, or simply "try too hard' in practice. The singer's
    practice and performance regimen must be sensible, productive, and acceptable to both teacher and
    student alike.

    9. POOR HEALTH, I{YGIENE, VOCAL ABUSE: Many students ignore common sense
    and good vocal hygiene. The physical demands of singing necessitate optimal healttt, beginning with
    adequate est, aerobic exercise, a moderate diet (and alcohol consumption), and absolute avoidance of
    rne ru Most Lonrmon rroolefl$ Or Dulgers f .169 J vr J

    smoking. College voice students often test the limits of their vocal health by overindulgence in
    i "partyingn, alcohol or drugs, and by screaming at sports events. tvlany singers are careful with their
    / uoi.er but abuse their voice by employing poor speaking technique (see, for example, Bogart-Bacall
    Syndrome in this issue).

    Professional singers who travel are frequently confronted with changes in their sleep and eating
    patterns. (Specifically, singers should avoid talking excessively on airplanes that are both noisy and
    dry). Performing in dry, dusry concert halls, or singng over the din in smoke-filled clubs increases the
    risk ofvocal fatigue and infection. A minor cold or allergy can be devastating to a professional singer,
    who is obliged to perform with swollen (edematous) vocal cords. Good vocal hygiene, good travel
    habits, and vigilant protection of ones instrument (good judgment) is an important responsibility of
    every singer.

    10. POOR SELF-IMAGE, LACK OF COI{FIDENCE: Although many singers appear


    nprima donnan
    to have "healthy egos" and may display the aggressive behavior that is known as
    temperament, zuch behavior is a cover-up for anxiety and/or insecurity. Since the slightest aberration
    - phleg4 for example - can result in momentary loss of voice (even in the greatest of performers!),
    singers often feel that they are always in a state ofwlnerability. Despite unpredictability in vocal
    performance, the singer does gain confidence through repeated performance and increased self
    awareness.

    T.Radomski

    Teresa Radomski, MM, is an accomplished operatic soloist otd Assistqrt Professor of Voice od
    Theatrical Singrng at Walre Forest (Iniversity. In addition, Ms Rsdomski is a consltortfor the
    Center For Voice Disorders, and a contributing editor of this nantsletter. Her column, "A Singer's
    Notes" will qppear as a regularfeature of ME WSIBLE I/OICE. M

    @ Copyright, Center For Voice Disorders of \ilake Forest University

    Designed and Maintained by [email protected] and [email protected].

    Center For Voice Disorders Homepaee I Medical Center Homepage

    Reflux and Voice Disorders I Sineers and Sinsine O Vocal Nodules and PollPs

    Spasmodic Dysphonia I Diseasesofthe Larynx I Gallery oflaryngeal Patholog-v

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