VOCAL HEALTH AND

TECHNIQUE 101

Ribblett, Shelby
MUSC 4601 - 001  Final Project
 My Philosophy

When it comes to teaching vocal music, my philosophy is very simple: in order to become a

successful singer, you have to become a smart and healthy singer. A person can sing their entire

life, but if they never learn healthy techniques, they will find it difficult to be successful as a

singer, or face many vocal health problems later in life. Learning basic technique like placement

and breathing can greatly enhance a singer of any age or skill level. This book outlines the basics

of vocal pedagogy that are important for singers to master. Each section contain warmups and

exercises you can do to acquire better vocal technique.

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 Table of Contents

Posture 3

Breathing 8

Phonation 10

Resonance 14

Vocal Health 22

Student Evaluation Form 26

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 Good Posture
Good posture is something that happens when every part of your body aligns in a way

that is natural and comfortable. For singers, good posture is something that is vital to aid in

healthy singing. Not only does it allow the body to relax, giving you the ability to use your

muscles to sing, but it also helps keep people healthy. Good posture centers on aligning your six

places of balances in order to ground your body and relieve tension. The six places of balance in

the body are at the A-O Joint, the arm structure, the thorax in relationship to the lumbar spine,

the hip joints, the knee joints, and the ankle joints. Without aligning and relaxing these parts of

your body, singers cannot successfully attain good posture.

Having good posture is vital to healthy singing. Good posture not only helps the voice

function properly, but it also keeps singers healthy. If a singer has incorrect posture, it can be

harder on the body and can be detrimental to a person’s vocal technique. Even though posture is

such an important aspect of singing, it is something every singer struggles with in some capacity.

Good posture requires the alignment and relaxation of the entire body, which is accomplished

through the six points of balance in tandem with the head, shoulders, chest, arms, hands, back,

pelvis, knees, and feet.

Feet

Starting with the feet, they should be hip-width apart and facing straight forward. Keeping the

feet aligned under the hip provides the support to maintain balance throughout the whole body. It

can also be helpful to place one foot slightly in front of the other to allow for some movement

when performing. The ankle joint is one of the points of balance that further supports the weight

on the feet. Weight on the feet should be evenly distributed on the balls of the feet and the heel.

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When balanced correctly, most of the weight will be centered on the arch of the foot, providing

the most stable distribution on weight.

Figure 1A: An anatomical picture showing the dispersion of weight on the feet.

Knees

When standing, the knees should be facing forward, slightly bent, and easily mobile. Locking up

the knees cuts off the blood flow to your legs and can cause a loss of balance. Conversely,

having the knees too loose can cause a strain on the legs and lower body, making those areas

more tense. As another point of balance, the knee joint needs to stay somewhat loose and

comfortable to accommodate movement and aid in balance.

Hips

The hip position should align under the torso and run straight down the legs. If the bottom of the

hip is tilted down and back it is in a concave position that can cause tension and back pain. If the

bottom of the hip is tilted up and back, then the hip has a posterior tilt and is too far forward.

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Hips should angle straight down with the legs in order to avoid tension and to serve as a point of

balance for the body.

Figure 1B: Diagram showing correct and incorrect standing posture.

Chest and Back

The chest and the back work together to create space for proper breath expansion. The chest

should be tall and open with the ribs slightly raised over the hips to create more downward space

for the lungs. When the chest is tall and open, the abdomen has more freedom to be flexible and

accommodate the movements needed for lower breath expansion. The back should have an “S”

shaped curve that helps align the thorax over the center of the hips. If the back is slouched, the

thorax can be impeded, causing it to be off center from the hips. Having the thorax off center can

affect balance and can cause unnecessary tension while singing. The spine itself does not align

over the center of the hips, instead it aligns the thorax, neck, and head over the center of the hips.

Shoulders

Shoulders should always be down and back on the chest. If the shoulders curve inwards, the

chest will collapse, and the lungs do not enough room to expand properly. It is important to not

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pull the shoulders back too far as well, which can cause chest constriction and discomfort.

Aligning the shoulder over the hips and keeping them low allows the chest to remain open and

flexible.

Figure 1C: Diagram showing different types of chest posture.

Arms and Hands

The arms and hands are often overlooked when it comes to posture, but they are an important

component, nonetheless. Serving as another point of balance, the arms should hang comfortably

at the side of the body with some space between the two. The palm of the hands should face

inward toward the sides of the body with the thumbs facing straight out in front. When the hands

are rotated with either the palms or the top of the hands facing away from the body, pronation in

the shoulder occurs, resulting in the shoulder closing itself off from the internal rotation. The

thumbs should face out, and the hands should be unclenched, hanging freely at the side of the

body.

Neck and Head

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The neck and the head are the final parts of the body most important to posture. The neck should

line up over the hip, legs, and feet in order to maintain balance and allow proper air flow through

the throat. If the neck leans too far forward it can cause neck tension and can reduce the amount

of air that can be inhaled. The head should rest comfortably on the top of the neck. The A-O joint

is the final point of balance in the body and it guides the movement of the head on the spine.

Keeping this joint loose helps maintain balance in the body and creates space in the throat for

healthy breathing and singing. The head should sit easily on the top of the spine, not too far back

looking up and not too far forward looking down. Good head placement should allow the eyes to

run parallel with the ground.

Figure 1D: Picture showing where the head rests on the spine.

Good posture is essential for a singer. Without it, the body is not allowed to do what it

naturally can, making singing harder and more strenuous than necessary. Posture involves more

than just a straight back. Good posture is something that every part of the body has to work

together to achieve. With it, singers are able to function at their best and keep themselves healthy

at the same time.

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 Breathing

When someone is a singer, they practice a different type of breathing than the natural

breathing people use every day. Whereas the natural breath is a slow inhale of breath with a

faster release of air, the singer’s breath has a quicker breath with a slower exhalation. This

breathing technique allows singers to maximize the amount of air they are able to take in and

sustain for a longer period of time when compared to a natural breath. To achieve this, singers

practice the four stages of breathing and develop the appoggio technique.

Singer’s Breath

The four stages of a singer’s breath is the inhalation, the suspension, the exhalation, and

the recovery.

Stage One: Inhalation

The first stage, inhalation, calls for a quicker, fuller, and deeper breath than what normally

happens with natural breathing. When inhaling to sing, the singer wants to be able to take in a

greater amount of air that will go deeper into the lungs in order to get as much breath as possible.

The posture of the upper body contributes to this idea as well. If the chest is raised when

inhaling, the breath becomes restricted and can create tension in the neck and shoulders. The

abdominal muscles should also be relaxed so that they can move freely to support the breath.

Stage Two: Suspension

Suspension is the next stage in the singer’s breath, and it is the only stage in the singer’s breath

that is not part of natural breathing. Despite this stage not being in the natural breathing cycle, it

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is extremely important when singing. The suspension stage is a short period of time between the

inhalation and the exhalation in which singers will prepare their breath support for the singing

that will come afterwards. Taking this time to prepare the breath support is essential because it

helps the singer in the next stage which is the exhalation.

Stage Three: Exhalation

The exhalation stage is when singers will release air in a controlled manner while singing in

order to sing for longer periods of time. When done successfully, the breath will be slowly

released, and the diaphragm and abdominal muscles will slowly release their tension to return to

their natural position.

Appoggio

During the exhalation stage is when appoggio takes place. When taking a low breath in the

inhalation stage, the diaphragm will expand downward to allow the lungs to fill more efficiently,

and as the air is released in the exhalation stage, the diaphragm will slowly ascend back up to its

resting position. The idea of appoggio is to slow down the rate at which the diaphragm will

ascend back up in order to extend the breathing cycle while singing. Utilizing the appoggio

technique is vital for singing all musical styles from classical to contemporary because it allows

the singer to sustain their breath longer and have better support for their sound.

Stage Four: Recovery

The last stage of a singer’s breath is the recovery. In natural breathing, the recovery stage is long,

allowing time for the muscles to relax and release their tension before the next breath. For the

singer’s breath, the recovery time tends to be much shorter because the wide variety of time

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singers can have to take a breath in a song. Because singers do not often have time for a longer

recovery stage, it is important for singers to practice releasing any muscle tension from the

breath before their next inhalation. If the tension is not released, the muscles will become more

and more tense which can lead to more shallow breaths and tension in the upper body as well.

While most people do not spend much time thinking about the way they breath, singers

do not have that luxury. The breath is the foundation in which other aspects like technique and

performance are built upon. Without the mastery of the four stage of breathing and the idea of

appoggio, singers will find it more difficult to sing passages and will experience more tension

and discomfort in their body over time. Learning the proper steps to inhalation, suspension,

exhalation, and recovery are vital to great singing.

Watch the video attached for more information on the four stages of breathing, appoggio, and for

some examples of breathing exercises to practice the singer’s breath.

https://youtu.be/RWwqat1zNqk

Phonation

In simplest terms, singing is extended phonation that can change in pitch and quality.

Phonation is defined as producing vocal sound in either speech or singing. It occurs during the

exhalation step of breathing on the vocal onset, which is when the sounds starts. There are a few

different types of phonation: aspirate phonation, pressed phonation, and coordinated phonation.

Aspirate phonation is a soft, relaxed onset where the breath flow begins first followed by the

slow adduction of the vocal folds. This technique can cause vocal problems if overused due to

the muscle tension required for this onset to happen. Pressed phonation, also known as a glottal

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onset, starts with a strong adduction and grunt-like effect. This type of onset can be used as an

articulation method for certain words or vowels when singing but should not be used too often as

it can lead to nodules. The balanced onset is the preferable onset that singers should strive for. A

balanced onset happens when the adduction and airflow begin at the same time. This onset

produces a very clear and easy sound. This sound is further enhanced by gola aperta, the “open

throat.” Open throat singing is the idea of having a healthy amount of tension while singing,

letting the throat serve as part of the resonating space.

Figure 2A: This image shows the direction of phonation as it leaves the vocal folds.

Offset is the tone release once phonation ends. Like onset, the three types of offset are

aspirate release, glottal release, and balanced release. Aspirate release is a soft release where the

vocal folds abducted but the air continues to flow. The glottal release forcefully stops the sound,

and the airflow is suddenly cut off. The balanced release is when the adduction of the vocal folds

and the airflow is cut off at the same time, which is the preferred method of offset.

After mastering the balanced onset, singers then strive for a good sound and tone, but

what does good sound and tone mean? Some keys characteristics of a good sound includes

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distinct vocal quality, clarity and accuracy of tone, sound free from tension, and more. To

achieve these qualities of a good sound, there are a few exercises people can do to practice

phonating.

Phonation Exercises

1. Glide-Down Slide

The glide-down slide exercise is a simple sighing exercise that connects the sound with the

breath. To do this exercise, you take a deep breath in and sigh starting on a higher pitch before

gliding down your range to a lower pitch. This exercise utilizes kapalabhati breathing – a type of

breathing that uses explosive exhales that push the air out of the lungs on the onset.

2. Straw Phonation

Straw phonation is an exercise that focuses on the consistency of breath while phonating. To

do this exercise, you place a straw in your mouth and create sound through the straw. The goal is

to focus the direction of the sound through the straw while keeping the amount of air being

exhaled consistent. Since the mouth is closed off around the straw, the pressure being released

from the lungs remains in the vocal tract which allows the vocal folds to vibrate much easier.

This helps build up stamina in the vocal folds, leading to less fatigue when singing.

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 Figure 2B: Diagram showing the mechanics of straw exercises.

3. Staccato Exercises

Staccato exercises are exercises used to practice glottal onsets. To do this exercise, you sing

up a scale on a neutral syllable like “ha” or “di” on staccato. This exercise focuses on practicing

a hard onset that requires the quick adduction of the vocal folds. It allows the singer to focus on

the quick movement of the breath and practice their breath control in order to sing fast, short

notes.

Sing this scale on a neutral syllable like “ha” or “di.”

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 Resonance

Resonance can be a tricky concept for singers to understand. The definition of resonance

is the process by which the basic product of phonation is enhanced in timbre and/or intensity by

the air-filled cavities through which it passes in its way to the outside air. Essentially, resonance

is the way a singer can make a better sound when singers based on the position of their

resonators. The resonators are the parts of the body that aid in vocal resonance: the chest, the

tracheal tree, the larynx, the pharynx, the oral cavity, the nasal cavity, and sinus cavity. In order

to achieve the best resonance while singing, a singer has to not only focus on the vocal

placement and breath support – they also have to worry about the position of the larynx, palettes,

jaw, tongue, mouth, and lips. It can take singers years to find the right body and vocal placement,

but luckily there are many exercises and techniques a young singer can learn in order to develop

good vocal skills. First, it is important to learn how to maximize vocal resonance through the

positioning of the phonation and resonance muscles.

Maximizing Vocal Resonance

In order to maximize vocal resonance, a singer has to be aware of the position of their

resonators. Each resonator has a specific position and shape that allows for the best sound

possible to be created. While these positions may slightly vary from person to person depending

on different size and shape of the body, there are specific positions for each resonator that should

work on most people.

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Laryngeal Position

The position of the larynx when singing is a highly debated topic. For the purposes of enhancing

vocal resonance, singers typically strive for a lowed larynx. A higher larynx is typically used in

contemporary style singing, but

when singing classically, a

raised larynx can cause lots of

tension and intonation

problems. Having a lowered

larynx increases the amount of

space in the pharynx and

allows for warmer tone to come through more. A lowered larynx supports higher register

singing, making it great to help develop the vocal break. The easiest way to achieve a lowered

larynx is by swallowing. When you swallow, the larynx naturally lowers to support the muscles

used in the action. If you place your hands on your throat and swallow, you will feel the larynx

raise and then lower back down. Taking a deep breath and exhaling will also lower the larynx.

Figure 3A: Diagram showing the up and down movement of the larynx

Pharyngeal Position

The pharynx is the part of the body that is the space behind the tongue and includes the oral

cavity and nasal cavity. The pharynx is surrounded by pharyngeal constrictor muscles that aid in

swallowing. When you swallow, the pharyngeal constrictor muscles tighten, reducing the size

and space of the pharynx. For singing, having as much space as possible in the pharynx is

important in creating good resonance. In order to achieve that space, the pharynx needs to be

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relaxed and in a neutral state. To practice relaxing the pharynx, you can do the same swallowing

exercise as the laryngeal position, or you can think of the beginning of a yawn to open up the

space.

Figure 3B: Picture labeling the parts included in the pharynx

Vocal Tract Position

The vocal tract is section in the throat from the vocal folds to

the lips that is filled with air. Essentially, the vocal tract

consists of everything from the vocal cords up to lips. That

means in order to have an open throat, all of the other

resonators have to be relaxed and open.

Figure 3C: Diagram showing and labeling the different

components of the vocal tract

Soft Palate Position

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The soft palate is the soft tissue on the back part of the roof of the mouth. The soft palate

separates the nasal cavity from the oral cavity when swallowing. It is raised and lowered by

several different muscles that also raise the larynx. Raising the soft palate creates more space in

the back of the mouth for the sound to resonate. To practice raising the soft palate, think of the

beginning of a yawn, or you can put a Hershey kiss on your tongue and keep it from touching the

roof of your mouth.

Figure 3D: Picture showing how to raise the soft palette and what effect it has on the direction of

air and sound.

Jaw Position

The jaw can be a tricky part of the body to position. The jaw connects to the tongue and vocal

tract muscles, meaning its position can affect the vocal tract as a whole. People commonly have

very tight jaws with clenched teeth that can grit together. The ideal jaw position is relaxed and

lowered down and back on the natural hinge. Having a relaxed jaw helps relax the muscles in the

throat and provides more space in the mouth and vocal tract as well. Massaging the jaw regularly

can help reduce tension.

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 Figure 3E: A diagram showing how a jaw opens and closes.

Tongue Position

Tongue tension is something almost every young singer will struggle with when learning how to

sing. The tongue connects to the larynx, meaning any change in tongue position will also move

the larynx. The tongue has no set position it needs to be in when

singing because it needs to be free in order to create vowels and

consonants. The tongue position changes in tandem with the mouth in

order to create vowels. To keep the resonating space in the back of

the mouth, the arch of the tongue should be in the middle of the

mouth, not too far forward or back. When it is resting, the tongue

should rest on the bottom of the mouth with the tip of the tongue

slightly touching the lower teeth. In order to help relax the tongue, try stretching the tongue out

of your mouth for a few seconds and massage under the chin.

Figure 3F: Picture showing the tongue position for different vowel shapes.

Lip and Mouth Position

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The lips and mouth take a very active role when singing. If the lips are spread, the vocal tract is

shortened which gives a brighter sound to the singing. By keeping the lips forward, the vocal

tract lengthens resulting in a darker sound. Luckily, the lips and mouth are easier to work on due

to the fact that they are visible in a mirror. Placing two fingers on the sides of your mouth while

singing can help remind you to keep the lips forward and not spread while singing.

Enhancing Vocal Efficiency

Once a singer has learned about the positioning of the resonators, next is the singer’s

formant and vocal placement.

Singer’s Formant

Singer’s formant can be a tricky concept to understand. Basically, the singer’s formants refers

the resonance created in the vocal tract. The singer’s formant is what allows a single voice to

project over something like an orchestra by producing a “ring”. The logistics of how this happens

has a lot to do with audiation and acoustics that are not important to know. Instead, it is

important to know how to create the singer’s formant. To create the singer’s formant, you have

to have enough energy in in vocal-fold vibration, no tension in the throat or resonators, have an

“open throat,” and raised soft palette. It is best to practice these with a voice teacher who can

listen and critique you based on what they can hear and see when you sing.

Vocal Placement

Vocal placement refers to where the vocal tone in centralized within the vocal tract. Sometimes

you can feel the placement of your voice based on where you feel the “ring” of your voice most

concentrated. Generally, it is good to maintain a higher placement in the singer’s mask, which is

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the area on the face from the cheekbones up to the top of the

eyebrows. A higher placement helps combat tension in the throat

area by keeping the center of the tone higher in the body. While

lower placement can be good for specific types of singing, a

higher placement is preferred, especially in singing.

Figure 3G: Picture showing the placement of the singer’s mask on the face.

Vocal Exercises

 Breathing in a yawn exercise

o Breathing in a yawn, dropping the jaw, and focusing on raising the soft palate will

align the vocal tract while creating space in the back of the throat, allowing for

better resonance.

 “Ng – Ah” exercise

o In order to practice a higher vocal placement, try singing “ng” to “ah” on a simple

scale or pattern as a warm up. The syllable “ng” is a nasal consonant that will help

automatically place the voice in the higher position before opening up to an “ah”

vowel.

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 o

 “Ee” exercise

o An exercise that while help get the tongue more forward in the mouth in singing a

scale on an “ee” ([i]) vowel. The “ee” vowel is a nasal consonant so it will also

keep the placement of the vowel higher in the singer’s mask as well. To do this

exercise, sing a scale up and down all on the vowel “ee.”

 “Oo – Ee” exercise

o To practice the change in tongue positions between vowels, try singing “oo – ee”

up and down a fifth. This exercise allows you to focus on the change on tongue

position and its relation to mouth shape. Being aware of how the shape of the

tongue and the mouth work together to create vowels helps inform the amount of

shape we need for the resonators in the back of the throat. Do this exercise by

singing up and down a fifth while singing “oo – ee” where the vowel changes

every time the note changes.

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 o

 Swinging Alphabet exercise

o The swinging alphabet exercise focuses on the plosive consonant “b.” It is a short

song in which almost every syllable starts with the letter b. This exercise helps

pull the focus away from the throat by concentrating on the emphasized consonant

instead. Using this exercise occasionally can help those who have a more

swallowed tone.

Vocal Health

Vocal health is one of the most important components of the voice that singers focus on.

If a singer has poor vocal health, it can lead to long term damage or the destruction of the voice.

Singers are not the only ones who should be concerned with their vocal health. The voice is

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something almost everyone uses on a daily basis, and unless someone is a singer or speaker of

some kind they may never think about keeping their voice healthy. Everyday people do not

typically consider their own vocal health, and they are even less likely to know how to keep their

voice healthy. How does one practice vocal health? What can everyday people to keep their

speaking voices healthy?

Importance of Vocal Health

Keeping the voice healthy is vital to singers. Even if a singer doesn’t perform often, damage can

still happen as a result of making one mistake. That damage can stay with a person for the rest of

their lives, and for singers that damage could potentially end their careers. Everyday people

should be concerned with their vocal health also. In the same way a singer can easily damage

their voice, other people can too from things like vocal fry, smoking, or not drinking enough

water. These people can be especially at risk due to the lack of knowledge about vocal health.

Whereas singers typically are educated in keeping themselves and their voice healthy, the

average person is not as educated in vocal health with many not giving the health of their voice a

second thought. It is important for everyone to practice good vocal health in order to avoid

serious damage or medical expenses.

Common Voice Irritants

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There are many things people do every day that can cause voice irritation. The most common

causes of vocal irritation include dehydration, stress, vocal fry, coughing, and throat clearing.

When it comes to vocal health, not drinking enough water tends to be one of the biggest causes

of vocal fatigue and damage. The body needs to remain hydrated to sustain the mucus that coats

and protects the vocal cords as they vibrate. Without the mucus there, the vocal cords will rub

together causes lots of irritation and other problems. It is typically recommended that people

drink 64 oz of water a day in order to stay hydrated and keep both the vocal cords and body

healthy.

Stress is something that people do not typically think of when they think of things that could

harm the voice. In reality, stress can greatly impact the voice. When the body becomes under

stress, the muscles around the neck tend to tighten, causing lots of tension and rigidity in the

throat. This tension impacts the body’s ability to create sound and can strain the vocal folds.

Vocal fry is probably the biggest cause of vocal problems in everyday people. In recent years it

has become popular for people, women in particular, to talk in a lower-pitched, monotone voice.

Speaking like this causes vocal fry as the vocal cords are constantly phonating at a pitch lower

than the natural voice. If done for long periods of time, the vocal cords can develop nodules or

other vocal disorders that will impact phonation.

Coughing and throat clearing are two actions that are very traumatic to the voice. When a person

coughs or clear their throat, the vocal folds harshly rub together; doing this repeatedly can cause

serious damage to the vocal folds. It can sometimes feel difficult to talk when there is a mucus

buildup in the throat, but in reality that mucus helps keep the vocal folds lubricated in order to

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function properly. Taking medication for mucus buildup can also dry out the vocal cords and

should be taken as sparingly as possible.

Laryngeal Inflammation and Illness

Long-term irritation of the vocal cords can lead to laryngeal inflammation and other vocal

disorders. Laryngitis specifically refers to laryngeal inflammation which causes a lack of mucus

to form over the vocal folds. This results in the vocal folds becoming puffy and stiff and makes

phonation difficult and painful. Laryngitis can be defined as acute or chronic with acute

laryngitis lasting around 2-3 weeks and chronic laryngitis lasting several months. Treatment for

laryngitis can vary, but typically involve medication to fight any infections, steroids, and vocal

rest. Depending on the severity of the laryngitis, vocal therapy with a speech-language

pathologist may be needed to help learn how to better use and care for the voice.

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 Student Evaluation Form

(Student Name)

Technique

Posture 1 2 3 4 5 Previous Rating:

Breathing 1 2 3 4 5 Previous Rating:

Placement 1 2 3 4 5 Previous Rating:

Comments:

Repertoire

Piece Rehearsed: __________________________

Memorization 1 2 3 4 5 Previous Rating:

Rehearsed:

Needs Improvement:

Comments:

Health and Well-Being

Mental and Physical Health Comments:

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