Foundations of Singing: Understanding Respiration, Registration, and Resonance

The singing voice is a biological marvel that is capable of creating vibrant colors that sink to the depths and soar to the sky. Many books have been written and many words have been spoken to describe how the singing voice works. With so much information floating around, there can be confusion. Have you ever been confused by the overwhelming variety of vocal terminologies or explanations? If so, then you are not alone. Since understanding how the voice works is important for the singing journey, then here is a brief basic overview that explains vocal function.

Respiration

Respiration is the act of breathing that involves inhaling oxygen and exhaling carbon dioxide. Breathing is a natural process. When you breathe in, the vocal cords open and oxygen flows into your lungs. Oxygen supplies your body with energy for movement. The vocal cords close for a split second. Oxygen is converted into energy. The vocal cords open and you exhale carbon dioxide which is the waste product from oxygen being converted into energy.

Breathing for singing involves sound creation. When you breathe in, the vocal cords open and oxygen flows into your lungs. The diaphragm descends. The lower ribcage area and the upper abdomen expands. Oxygen supplies energy for your vocal muscles (closers and stretcher) and vocal cords to move and adjust. The vocal muscles adjust the vocal cords for the pitch, volume and vowel to be sung. Air (carbon dioxide) moves through the adjusted vocal cords and sets them in motion creating initial sound waves. The sound waves travel up into the spaces of your neck and head cavities. The initial sound waves are shaped and refined into vocal tones that travel out the mouth and to the ears of listeners. The respiration cycle continues as breathing muscles respond to the needs of the voice for renewed energy and airflow by auto-inhalation.

Breathing Problems

Breathing is a natural process. However, breathing for singing presents challenges because the natural process must be adapted to allow for sound creation. Singing involves many complex and precise movements of multiple muscle systems that must all work together. When there is malfunction or imbalance, then the singer “runs out of breath” when trying to sing. Often, “running out of breath” is treated as a breathing issue with the singer then attempting to breathe even deeper and control the flow of air by tensing the breathing muscles. However, many breathing problems actually occur due to a malfunction or imbalance within the sound source (the vocal muscles and the vocal cords). If the vocal muscles and the vocal cords are not developed and coordinated properly, then the singer “runs out of breath” for two main reasons:

• The vocal muscles and vocal cords are not functioning efficiently and waste energy. Basically, the inefficient voice burns through oxygenated energy too quickly. The singer “runs out of breath” and they must inhale to replenish the supply of breath energy. If the singer also diverts energy to tensing breathing muscles in order to try to correct the issue, then more energy is used up and they “run out of breath” even more quickly. This vicious cycle of energy depletion can only be solved by working on efficient registration.

• The vocal muscles are not accurately adjusting the vocal cords for pitch, volume, and vowel. When the vocal cords do not adjust correctly, then too much air can move through the space between the vibrating vocal cords. Basically, there is a “leak” and the singer must inhale to replenish the supply of air so there is enough airflow for the vocal cords to vibrate and create sound waves. Breathing techniques, no matter how correct, cannot solve this issue for it is an issue with the sound source. If the vocal muscles and vocal cords adjust accurately, then there is no excess “leaking” of air and breath is conserved.

“Running out of breath” is a common problem experienced by singers. However, there are other breathing issues that also need to be identified and addressed. One such issue concerns shallow constricted breathing. When the singer breathes into the upper chest area with shoulders raised, then the breath inhaled is shallow and the singer experiences tension in the upper body and neck - much like one might feel when stressed out, exhausted, or anxious. This clavicular breathing results in less oxygen for energy and less air for airflow. To correct this situation, the singer can focus on diaphragmatic breathing exercises to encourage a deeper breath, with no excess tension, resulting in more oxygen for energy and more air for airflow. Diaphragmatic Breathing is felt as the diaphragm descends and there is expansion in the lower ribcage area and upper abdomen (without any raising of the shoulders and upper chest area).

Breathing problems also appear when too much air is inhaled - basically the singer stuffs themselves with air. When there is too much air inhaled for the exercise or song phrase to be sung, then not enough air (carbon dioxide) is released when singing. The singer breathes in again - fresh oxygen is piled on top of unreleased carbon dioxide - and the singer will experience a buildup of tension and pressure in the upper chest area that can only be resolved by exhaling all the excess air before the respiration process can reset itself. Oddly, this experience is often interpreted by the singer as “running out of breath” and they might scramble to try to take in even more air thus making the situation worse. In reality, there is too much air left over after singing. Basically, carbon dioxide is not fully expelled - and the body wants to get rid of this carbon dioxide. So, this issue is about the need for adequate exhalation so the body can replenish its oxygen for energy - and then adequate inhalation (neither too little nor too much) so that energy and airflow matches up with the needs of the exercise or phrase to be sung. Before exploring a couple of solutions, let’s identify two final common breathing problems.

Whether inhalation of air is too little or too much, singers often try to hold air back or push air out. When air is held back in an attempt to control the flow, there is unnecessary tension in the breathing muscles with energy being wasted as it is diverted from the sound source, the throat responds by constricting, and the airflow tends to be unsteady because precise calculations of airflow are not consciously known. When air is pushed out in an attempt to get the vocal cords moving or “hit” the notes, then pressed airflow either jams up the vocal cords and inhibits movement (like blowing too hard through a straw) or the pressed airflow blows the vocal cords open with force that leads to hoarseness, breathiness, fatigue, and possible vocal damage.

Breathing Solutions

Okay - how does a singer breathe in just enough air needed for singing as well refrain from either holding or pushing air? Two basic solutions are Rhythmic Breathing and Onset Exercises:

• Rhythmic Breathing is a continuous rhythm of breathe and sing and breathe and sing. Vocal exercises involve notes to be sung separated by a chord [1-3-5] played to allow the singer to breathe and then immediately to sing again without pause. Basically, you stop singing by breathing in, and then without pause you immediately reverse the air breathed in and launch the singing tone - over and over in a circular rhythmic cycle. This foundational movement is called Rhythmic Breathing. As you breathe and sing in a cycle without pause, then you feel a steady flow of moving muscles and moving air that sync up to release the vocal tone. If there are habit patterns of stuffing and holding air or pushing and pressing air, then exercises using rhythmic breathing can set you free from those habits. Keeping the circular cycle going in a steady rhythm means you do not have time to either hold or push air. Rhythmic breathing sets the stage for singing song phrases as it encourages spontaneous movement that gives the singer an awareness of balanced tonal flow with breathing muscles, vocal muscles, and vocal cords in sync.
• Onset Exercises also encourage moving air and moving muscles to find a healthy balance. When the breath moves first followed by vocal cord closure, that is called a breathy onset. When the vocal cords close first followed by airflow, that is called a glottal or hard onset. When the vocal cords close and air flows through at the same time, that is called a Balanced Onset. Of course, for stylistic and expressive purposes, the singer may sometimes choose either a breathy or hard onset. However, for ideal vocal function, the singer should practice a balanced onset so that they “know” in their body and mind how to always find their balance first and then make choices for style and expression. A balanced onset exercise helps engage breathing muscles, vocal muscles, and vocal cords so that they all move together as one. An example to try: Use [zee] or [zah] and sing staccato on [1-1-1-1-1…] with the last note sustained. Inhale very slightly between each staccato note sung (almost like the feeling of panting with a tiny breath in and then immediately singing the note). This basic onset exercise can be explored with added layers of complexity - but the idea remains the same - learning to sync up moving air and moving muscles so that the singer feels that balance and learns how all works together.

As the singer works on registration (developing and coordinating vocal muscles and vocal cords) plus uses rhythmic breathing and onset exercises, then moving air and moving muscles will sync up. An amazing benefit from working on this balancing process is that the body will also figure out just how much air is needed to get all this done - whether singing an exercise or a long song phrase. The properly adjusted vocal muscles and vocal cords will automatically signal the breathing muscles when energy and airflow is needed to continue singing, and the correct amount of oxygen will be inhaled - neither too little nor too much. Over time, the singer feels in-tune with their body and learns how to participate with the process - a combo of natural physical instinct and educated mental control that encourages free functioning healthy vocal movement that then enables one to make conscious choices for style and artistic expression.

Breathing Terminology

Breathing for singing has often been described using certain terminology. To further understand the role of breathing in singing, here are important definitions to keep in mind as you learn:

• Breath Support - The voice is supported by the breath. How? The breath supports the voice by supplying oxygenated energy so that the vocal muscles and vocal cords are able to move and adjust. The breath also supports the voice by supplying a steady airflow that sets the vocal cords in motion; creating sound waves transformed into tone.
• Breath Control - The voice requires airflow to be controlled. How? The vocal muscles adjust the vocal cords for the pitch, volume, and vowel to be sung. The adjusted vocal cords act like a valve. The space between the vibrating vocal cords is called the glottal slit. The size of the glottal slit, as determined by the adjusted vocal cords, controls the flow of air - much like a sink faucet controls the flow of water, whether a lot or a little.
• Breath Pressure - Air is inhaled as an automatic response to the body’s need for oxygen. Air fills the lungs and breath pressure increases. The increase in breath pressure naturally creates energy. When singing, the vocal muscles and vocal cords use energy plus airflow to adjust and move. The adjusted vocal cords act like a valve to control the flow of air. The breathing muscles automatically brace to maintain balance between the breath pressure and the vibrating vocal cords. Thus, the singer does not need to attempt to micro-manage breathing muscles. Rather, the singer can simply note the feeling of a flexibly firm bracing. As the singer advances in learning, they will discover a holistic feel of expansive energetic movement where they are able to participate with bracing and balancing to effectively express the emotion of the sung text.

Registration

Registration is the process of sound creation at the sound source with the vocal muscles working together to rotate between heavy and light sounds and adjust the vocal cords for pitch, volume, and vowel. Muscles that adjust the vocal cords are called - arytenoids and cricothyroid. A simple explanation: The Arytenoids close the vocal cords providing power, relieving throat constriction, and regulating volume. The Cricothyroid stretches the vocal cords providing pitch regulation. The arytenoids and cricothyroid create two different sound textures called Registers:

• Chest Register - The closer muscles (arytenoids) produce a texture of sound called the chest register. The range of the chest register is from C2-E4 with variations depending on voice type. The more isolated sound is heavy and rough with increasing volume towards the top of the register. Vibrating vocal cords are big and thick. To get the feel for the chest register, sing [ah] on a [1-2-3-2-1] scale on a low pitch with loud volume.
• Falsetto Register - The stretcher muscle (cricothyroid) produces a texture of sound called the falsetto register. The range of the falsetto register is from B3-B4 for all voice types. The more isolated sound is light, soft, and often breathy (due to the vocal cords not being closed) with increased energy towards the top of the register. Vibrating vocal cords are small and thin. To get the feel for the falsetto register, sing [oo] on a [3-2-1] scale on the pitches between B3-B4 with reduced volume and possible breathiness.

The Challenge of the Break

The Chest Register and the Falsetto Register have an area of overlap from B3-E4 that can be sung in either register. When undeveloped and lacking coordination, the two registers within this area of overlap exhibit a “break” as the singer moves from one extreme to the other. The break is felt by the singer when the voice yodels or cracks. The break is often experienced by male singers when they attempt to move into the upper part of their range. The break is often experienced by female singers when they attempt to move into the middle part of their range. The solution to the “break” is discovered as the singer focuses attention on registration work.

The Solution to the Break

The two registers can be developed and coordinated to create the Full Voice which gives the singer the feel of three areas: chest voice, middle voice, and head voice. An analogy of your voice as a vocal home might be helpful. The chest voice is like the basement. The middle voice is like the first floor. The head voice is like the second floor. The two registers (or muscle systems) also develop and coordinate to adjust the vocal cords to vibrate slower with more thickness for low notes and faster with less thickness for high notes. As the vocal cords adjust accurately for pitch, volume, and vowel, then the singer gets the feel of a pitch “staircase” within the vocal home that moves stepwise through the range, connecting the three areas smoothly. The solution to the “break” then is this process where the registers are developed and coordinated and create micro-adjustments of the vocal cords so that each and every pitch has a specific length, width, and depth of vocal cord vibration. Let us explore the three vocal areas:

• Chest Voice - The chest voice is the lowest span of notes in the vocal range. For male voices, the range of the chest voice is from C2-D3. For female voices, the range of the chest voice is from G3-D4. A sensation of resonance is felt in bones of the upper chest, hence the term chest voice. When you sing in the chest voice, the vocal cords are big, thick, and vibrate slowly with less energy. There is a feel of these lower tones as large pitch steps that are “down and in front” - low and loose broad sound that just pours out.
• Middle Voice - The middle voice (also called mixed voice) is a “mix” of heavy and light sounds. For male voices, the range of the middle voice is from E3-D4. For female voices, the range of the middle voice is from E4-D5. The sensation of resonance will appear to move up from the chest to the level of the hard and soft palate and can be felt in the nasal area and lower part of the face. When you sing in the middle voice, the balance of the vocal muscles continues to rotate (or shift) with the vocal cords being adjusted to have less mass vibrating as the pitch rises higher. As a result, the middle tones feel like steps that gradually become smaller and lighter with increasing energy as they move “back and up” the pitch staircase. The steps feel connected and flexibly firm.
• Head Voice - The head voice is the highest span of notes in the vocal range. For male voices, the range of the head voice is from E4-C5. For female voices, the range of the head voice is from E5-C6. A sensation of resonance is felt in the bones of the head, especially behind the upper part of the face and forehead, hence the term head voice. When you sing in the head voice, the vocal cords are small, thin, and vibrate quickly with lots of energy. There is a feel of these upper tones as small pitch steps that move “up, back, and over” - high and gathered up tiny focal points that spin with much excitement.

Registration and Pharyngeal Falsetto

As part of the registration process, it is important to develop the falsetto register from a weak breathy sound to a strong vibrant sound that will play a vital role in creating the full voice (chest voice, middle voice, and head voice). When the falsetto is developed to have a steely intensity, it is called Pharyngeal Falsetto - active from F4-D5 in all voices. The pharyngeal falsetto is found within the middle of the vocal range for female voices and the top of the vocal range for male voices. The procedure for development is to sing short scales within the falsetto range (B3-B4) using a reduced volume on [oo] or [ee] vowels with increased energy towards the top. At first, the falsetto might be weak, breathy, and inflexible. Continue exercising the falsetto using [oo] and [ee], progress to [ay] and [oh] and finally to [ah]. The falsetto will become clear and singable with a feel of flexible lightness on the surface (rather than a feel of firm thickness with depth). From that small light clear falsetto feel, gradually sing single pitches on a [1-1-1] scale from F4-D5 on [ae] as in "angry" and [eh] as in "pet" using reduced volume. Next, sing an exercise that employs half steps (F4-F#4-G4-F#4-F4) until you reach the top (D5). You can use [ae] and [eh] or even [yam]. The falsetto will take on a bright "snarly" steely intensity. Explore this sound by being careful to stay light and on the surface. Over time, slowly add tiny amounts of volume and move from [ae] and [eh] to all other vowels while maintaining the bright snarly steel feel. The pharyngeal falsetto will develop and form the strong flexible core of both the female middle voice and the male head voice as chest and falsetto registers coordinate. Pharyngeal falsetto can be integrated into the full voice or used on its own for artistic expression. For example, listen to the Bee Gees singing “Stayin’ Alive” and notice how the pharyngeal falsetto is active.

Registration and Laryngeal Suspension

The larynx should be free to move in many directions. When the larynx is locked into a too high position, then there is throat constriction. When the larynx is locked into a too low position, then there is rigidity. Whether too high or too low, the vocal muscles and vocal cords cannot adjust freely. Laryngeal Suspension can be achieved by working on registrational balance with the two muscles (closers and stretcher) developed and coordinated so that vocal cord adjustments for pitch, volume, and vowel are accurate. The stretcher muscle (falsetto register) is associated with the elevator muscles that pull the larynx up (especially during the act of swallowing). The closer muscles (chest register) are associated with the depressor muscles that lower the larynx. The stretcher muscle must do the job of thinning the cords and regulating pitch, which engages the elevators. At the same time, the closer muscles must brace against the activity of the stretcher muscle, and do the job of closing the cords, which engages the depressors. When this muscular antagonism is balanced, then the larynx becomes “suspended” with the throat being non-constricted and flexible - able to move for registration adjustments and resonance tuning.

Registration and Register Rotation

Register Rotation (also known as register shifting) refers to the process of the closer muscles and stretcher muscle working together for a shared dynamic muscular balance so that the vocal cords can be accurately adjusted for pitch, volume, and vowel. The feeling as this occurs will be one of a “rotation” movement from heavy to light, big to small, and low to high (or vice versa) with a smooth elastic connection. Of course, this means that work has been done to develop and coordinate the vocal muscles to adjust the vocal cords with the full voice emerging.

A helpful image for understanding: imagine a rubber band being stretched. Hold the front of the rubber band with two fingers acting like the stretcher muscle. Hold the back of the rubber band with two fingers acting like the closer muscles. The rubber band is like the vocal cords. As the rubber band is stretched, then it becomes thin. As you stretch the rubber band from the front, there is a closing and holding action at the back of the rubber band. Now, take your two fingers from the back of the rubber band and move them gradually more and more towards the front while stretching the rubber band. The opening of the rubber band between your front and back fingers is like the opening between the vocal cords with less and less opening as the pitch goes up (due to the activity of the closer muscles) as well as increasing healthy tension as the vocal cords continue to be stretched (due to the activity of the stretcher muscle). The entire process of the rubber band being stretched and the opening gradually being shortened is an image of what happens when you move up the vocal range with a smooth elastic connection from one pitch to another pitch and from one vocal area to another vocal area (chest voice to middle voice to head voice). This analogy illustrates a balanced register rotation for adjustment of the vocal cords. Note: If at any point you were to let go of the back of the rubber band, then this is like the vocal break - a disconnection from the full voice felt as a yodel or crack into falsetto.

A vocal exercise for exploring register rotation and smooth elastic connection is the Vocal Slide. The vocal slide can use humming, lip trills, tongue trills, and various vowels. To get the feel of register rotation, it is helpful to slide over a wider range of pitches - so, one octave or two octave slides are recommended. The vocal slide can start low and slide higher, start high and slide lower, or start low and slide up and back down. One example: slowly slide up the scale from the chest voice area to the middle voice area over the range of one octave and sustain the top note briefly. Maintain connection as you slide up (without accenting individual pitches). Feel the sensation of “rolling” or “rotating” from heavy to light, big to small, and down to up. This feeling of register rotation as you move from chest voice to middle voice with smooth elastic connection indicates that the vocal muscles are learning to balance, and adjust the vocal cords accurately.

As vocal function improves, then you will be more and more free to move in your full voice. You will be able to travel from pitch to pitch and from area to area with coordination and connection.

Registration and Passaggio

Passaggio literally means “passage” and refers to the feel of transitions from one vocal area to another - chest voice to middle voice and middle voice to head voice. Of course, this would mean that the initial challenge of the vocal break has been worked out through the principles of registration so that the chest register and the falsetto register are now somewhat developed and coordinating at a more advanced level. Passaggio is often described as a feel of a “lift” or a “lightening up” of the tone at certain notes when moving up in the vocal range - which would indicate that the vocal cords have had to make a bit of an extra adjustment at those transition notes. Since the feeling of the passaggio is related to vocal cord adjustments, then the focus of study should remain on registration work to develop and coordinate the vocal muscles so that adjustments of the vocal cords increase in accuracy. When the vocal cords are adjusted with a specific length, width, and depth vibrating for every pitch, then there is no need to worry about specific transition notes. That said, feelings and sensations do give the singer valuable information as to how the voice is functioning. Vocal function can be improved through vocal exercises using pitch, volume, vowel, and rhythm. There will be new healthier feelings and sensations that emerge as a result. Bottom line: do not stress too much about the passaggio or specific transition notes. Allow sensations to inform you, and then continue the registration work.

Registration and Placement

Vocal Placement can be confusing, especially for beginners. Trying to “put the sound here” or “place the sound there” tends to focus on controlling specific sensations and neglects the reality of vocal function. While descriptions of feelings or sensations can be helpful, there must first be a focus on vocal function involving airflow, vocal muscles, vocal cords, and vowel clarity. As vocal function improves through prescriptive exercises that reflexively stimulate, develop, and coordinate a variety of muscle systems, then sensations will emerge and be felt by the singer with greater sensitivity over time. The singer gains a Kinesthetic Awareness - like a sixth sense that allows for fluid precise movements and a special kind of control over those movements. As a result, sensations like “down and in front” or “dark and mellow” will be related to the reality of what is actually happening physically. The singer will then truly understand descriptions of feelings and sensations with the ability to move freely - whether “here” or “there” - due to the conscious mind being educated by what the body and subconscious mind have discovered through doing the good functional work. Bottom line: rather than focusing on placement, work on developing and coordinating muscle systems. Over time, your voice will naturally “place” itself where it needs to be - you will learn to participate with your voice and move with freedom.

Registration: Vocal Exercises using Pitch, Volume, Vowel, and Rhythm

Singing text requires a combination of accurate pitch adjustments, clear vowels, appropriate volume, and rhythmic motion. With a functional registration, the voice becomes more and more capable of expressing emotion that brings songs to life. The vocal muscles and vocal cords can be developed and coordinated using vocal exercises that stimulate and build up these muscle systems - using pitch, volume, vowel, and rhythm to cause various adjustments so the singer can navigate throughout the range with freedom to create different types of colors and sounds.

PITCH → The stretcher muscle (cricothyroid) regulates pitch by stretching and thinning the vocal cords - with assistance from the closer muscles (arytenoids) to close, brace, and seal up the space between the vocal cords - so that as the pitch rises there is less mass vibrating. When all is functioning freely, then there is a specific length, width, and depth of vocal cords vibrating for every pitch sung. However, oftentimes a singer will need help singing on pitch. Help comes in the form of carefully crafted vocal exercises. Vocal exercises employ a variety of pitches to construct scales to develop and coordinate the vocal muscles so vocal cord adjustments for pitch become more and more accurate. Accurate vocal cord adjustments for pitch allows the singer to sing in tune no matter where they are in their vocal range. Here are a few examples of vocal exercises that use different pitch selections for a variety of purposes:

• Sing a scale that leaps from the middle voice to the head voice [1-8-1] to help improve register coordination and set up a non-constricted resonance adjustment.
• Sing a scale with leaps on the way up [1-5-3-8-5-3-1] to help the vocal cords adjust to a lighter feel and move through the top of the vocal range with more ease.
• Sing a scale with a turn on the way down [1-3-5-8-5-3-4-3-2-1] to help the vocal cords readjust to a heavier feel and return to the bottom without crashing down.

Of course, there are many more vocal exercises that can assist the singer in the process of learning how to sing on pitch - and this learning is vital because good pitch means good singing.

VOLUME → The closer muscles (arytenoids) regulate volume through closure of the vocal cords. More closure means more volume. More volume emphasizes chest register activity with bigger vocal cords vibrating, heavier tone, and firm power. Less closure means less volume. Less volume emphasizes falsetto register activity with smaller vocal cords vibrating, lighter tone, and flexible agility. Vocal exercises can vary the volume levels to improve vocal function:

• Volume and the Area of the Break - Increase the volume to separate the registers to develop and realign muscle systems. Decrease the volume to coordinate the registers after initial development and realignment. After coordination leads to emergence of the full voice (chest voice, middle voice, and head voice), then balance the volume across the vocal range and gradually increase volume for development of strength everywhere.
• Volume and Register Balance - Increasing the volume shifts the register balance towards chest register activity. Decreasing the volume shifts the register balance towards falsetto register activity. Thus, depending on individual vocal functional needs or artistic goals, the balance between the two registers can be shifted (or rotated) anywhere in the vocal range to emphasize either closer muscle firmness or stretcher muscle flexibility.
• Volume and Correction of Registration Imbalance - If there is breathiness and tonal unsteadiness, then increasing the volume will cause more vocal cord closure so as to stop the leaking of air and firm up the tone. If there is a pressed tone and heavy rigidity, then decreasing the volume will cause less vocal cord closure so as to release the feel of squeeze/grip, relax the voice, and allow the tone to be lighter with flexible movement.

To further experience the interaction between volume and vocal function, you can try the well-known advanced vocal exercise called Messa di Voce. Sing this exercise on a single pitch and a vowel that feels comfortable - start soft, slowly increase to loud, gradually decrease back to soft. This exercise helps the closer muscles be more and less active without disturbing the regulation of pitch by the stretcher muscle. Whether you are singing beginning or advanced vocal exercises, varying the volume is an essential tool for register development and coordination, register rotation and balancing, and correction of various registration imbalances.

VOWEL → Vowels are created through registration adjustments (initial vowel formation) and resonance tuning (recognizable vowel shape). Vowels are associated with the registration in two basic ways. First, open vowels have more chest register activity and closed vowels have more falsetto register activity. Second, vocal cord adjustments create the feel of pitch steps on which the vowel stands. Vowels need to be a certain size and shape for each pitch step. Vowels that are too big or too small for the pitch steps negatively affect vocal cord adjustments with either too much heaviness or excessive tension. Now, it is important to understand that in a functioning registration, as one moves up the range, there is register rotation (heavy to light) and vocal cord adjustments (big to small). Registration and resonance sync up as the vowels change from open to closed (helps register rotation) and the vowel is sized down (helps vocal cord adjustments). The process of vowels moving from open to closed and being sized down is called Vowel Modification. Vowel changes often appear automatically in response to the registration adjustments, but vowel modifications can be encouraged through vocal exercises:

• To help changes from open to closed, sing a [1-3-5-8-5-3-1] scale up on a more open vowel, change to a more closed vowel on top, and then sing down.
• To help size down the vowel, use a consonant like an N or M and then sing [nah, nah, nah] or [mah, mah, mah] up and down on a [1-2-3-4-5-4-3-2-1] scale.
• Encourage the vowel modification process in one exercise. Sing a [1-3-5-8-5-3-1] scale up on [nah, nah, nah], change to [moh] on top, and then sing down.

Vocal exercises can also be constructed to increase chest register activity anywhere in the range using more open vowels or increase falsetto register activity anywhere in the range using more closed vowels. For example, sing [ah] in the head voice to encourage firmness and sing [oo] in the chest voice to encourage flexibility. In this way, register coordination and balance can be adjusted with the help of different vowels. Vocal exercises use vowels to assist register rotation, vocal cord adjustments, and tweak register coordination and balance as needed.

RHYTHM → Vocal exercises are always sung in a rhythmic motion. A variety of rhythms can be explored to help build muscle mass, release excess tension, and assist with registrational adjustments. Rhythm can utilize steady beats to emphasize connection or syncopated variations to emphasize letting go. Rhythm can be slow for firmness or fast for flexibility. When the singer responds freely to the rhythm of the vocal exercise, incorporating Rhythmic Breathing as well, then the rhythmic motion will encourage spontaneous muscular movements. Spontaneous muscular movements help bypass any problematic mental and physical habit patterns. As less-functional habits are bypassed, then more-functional muscular movements appear. As new muscular movements appear, then there will be new sensations that inform the mind and body. Over time, the mind and body will commit the feel of free and healthy vocal function to memory.

VOCAL WORKOUTS → Vocal exercises do not use elements in isolation but combine pitch, volume, vowel, and rhythm for maximum effect. Combinations of different pitches, different volumes, different vowels, and different rhythmic motions will stimulate interconnected muscle systems for the purposes of development and coordination so that respiration, registration, and resonance learn how to work together as one. Vocal exercises comprise the core of vocal workouts. Vocal workouts focused on vocal freedom and health will reveal your natural voice.

Registrational Setups

Registration can be set up in diverse ways to meet the demands of the singer’s temperament, various musical styles, and artistic expression. The three main types of registrational setup are:

• Balanced Registration - In a balanced registration, the vocal muscles (closers and stretcher) brace and even pull against each other to set up a dynamic equilibrium where neither muscle system dominates the other but equally shares the job of adjusting the vocal cords with a feeling of balanced flexible firmness. This type of registrational setup is when all interconnected parts work together for total vocal freedom and health, an achievement strived for but rarely accomplished - useful for all forms of vocal artistry.
• Head Dominated Registration - In a head dominated registration, the stretcher muscle (falsetto register) controls the process with emphasis on flexibility and agility plus access to greater dynamic variation. This type of registrational setup is often used in singing classical music and opera, especially when there is need for soft and light singing, a sustained high tessitura, ornamentation, and quick moving rhythmic passages.
• Chest Dominated Registration - In a chest dominated registration, the closer muscles (chest register) control the process with emphasis on firmness and increased volume and power with less dynamic variation and agility. This type of registrational setup is especially useful for popular musical styles including Healthy Belting - though it can also be used in classical music and opera to express very strong and heightened emotions.

Resonance

Resonance literally means a “resounding” of the tone. Breath is inhaled which supplies energy and airflow. The vocal muscles adjust the vocal cords for pitch, volume, and vowel. The vocal cords are set in motion using the supplied energy and airflow. Initial sound waves are created. The sound waves travel up into the spaces of the neck and head which further shape and refine the sound waves into recognizable vowels. When these spaces vibrate in tune with the sound waves created at the sound source, then there is a resounding of the tone that appears which is called Resonance. Vowels are shaped - colors are created - vocal tone is reinforced - and there is an amplified projection. Resonance is like an adjustable microphone that plugs into the sound source (registration) which in turn is plugged into the energy source (respiration). All three of these foundational elements work together to create and transform sound waves into singing.

Resonance and Registration

Registration and Resonance are interconnected. Registration work sets up register rotation plus adjustment of the vocal cords for pitch, volume, and vowel. Resonance happens as the spaces of the neck and head shape vowels to vibrate in tune with healthy registrational adjustments.

Resonance and registration work together through vowel selection: open vowels like [ah] engage the chest register whereas closed vowels like [oo] engage the falsetto register. Vowel tuning or shaping can be explored using exercises that move from one vowel to another. For example: an exercise sung on a single pitch moving through all the vowels [ee-ay-ah-oh-oo] can help you feel differences in shapes, the shifting of register activity as you move from closed to open to closed vowels, as well as how the vowels can connect with one another smoothly.

Resonance and registration work together through vocal cord closure and tonal colors: more vocal cord closer creates a bright and piercing tonal color whereas less vocal cord closure creates a dark and mellow tonal color. When you sing a vowel and emphasize the feeling of a bright and piercing tonal color, there is more chest register activity. When you sing a vowel and emphasize the feeling of a dark and mellow tonal color, there is less chest register activity. Basically, the singer feels that they can shift the resonance “forward” for brightness or shift the resonance “back” for darkness - this movement indicates freedom to adjust vocal cord closure.

Resonance Adjustment for an Open Throat

Resonance also refers to the "resonance adjustment" as you sing a vowel and move from one area to another (chest voice to middle voice to head voice or full voice to falsetto). The question that needs to be asked: Is the throat constricted (inhibiting resonation of vowel tone) or not constricted (allowing resonation of vowel tone)? The healthy procedure is to first set up the conditions for an “open” or non-constricted throat by working on the registration (vocal muscles adjusting vocal cords plus register rotation and balance). Then, the singer can assist the resonance adjustment to be "open-throated" with a recognizable vowel quality over the entire range by doing octave leaps from one area to another. Explore singing [1-8-1] scales. Feel the register rotation and pitch step adjustments (heavier/lighter, bigger/smaller, down/up) as you sing the vowel. Feel the vowel shape change (open/closed) while maintaining its basic structure without distortion. Octave leap exercises help set up an Open-Throated Resonance Adjustment where vowels are shaped without excess tension or throat constriction so that you can navigate throughout your entire vocal range with freedom as your registration and resonance sync up.

Resonance and Projection

Vocal Projection concerns the clarity and carrying power of the voice when singing. Vocal projection naturally happens as a result of healthy vocal function. What is the basic process of healthy vocal function? When you breathe in using diaphragmatic breathing, then your voice is supported through a supply of energy and airflow. Your vocal muscles use energy to adjust the vocal cords for pitch, volume, and vowel. Air flows through the vocal cords and sets them in motion. Breathing muscles automatically brace for a balance between breath pressure (your energy source) and vibrating vocal cords (your sound source that controls the flow of air). Vocal cords create sound waves that travel into the spaces of your neck and head. Sound waves are shaped into vowels - and here is where the “projection” magic happens. As the shaped vowels match up with vocal cord adjustments, then there is an automatic reinforcement of the vocal tone which creates an amplification called vocal projection. When all is working well, your vocal tone becomes naturally louder, more colorful, and clear (free of “noise” or static). You will not need to push or shout or even attempt to “project” your voice - because your voice will “project” itself as vocal muscles and vocal cords get stronger, coordinate, and sync up with various vowel shapes as resonated in the spaces of your neck and head. Vocal exercises can help you by stimulating muscle movement, building muscle mass, and forming muscle memory. You will learn how to participate with your voice as you work on the foundations of singing. As a result, your vocal tone will naturally be amplified and you will experience automatic vocal projection.

Resonance: Frozen in Place or Free to Move

One of the more common challenges to healthy resonation of vowels and tonal colors is when the singer is unable to adjust or move around. The resonance feels like it gets frozen or stuck in a particular “place” which indicates that the registration is malfunctioning and out of balance.

Example: if the singer is experiencing excessive nasality when singing - a feeling of being stuck in the nose - then that means the larynx is too high, the throat is constricted, and the soft palate is too low. However, if the registrational adjustments are corrected, then the larynx stabilizes, the throat opens, and the soft palate lifts in response. The singer will feel the resonance become free from excessive nasality. Once the registration issue is addressed, then try this exercise to explore freedom of resonance movement: sing the nasal NG sound and feel the vibrations in your nasal area - then move to [ah] and feel the lift of the soft palate with space for the vowel. The resonance will shift from the nasal area a bit back and up as the vowel is lifted and shaped.

Example: if the singer attempts to maintain a feeling of very forward bright low resonance with overly aggressive chest register activity as the pitch ascends, then that means the registers and vocal cords are not allowed to shift and adjust. The singer will feel stuck in the “basement” of their vocal home and must use excessive volume to push the pitch higher which leads to vocal damage. In a healthier registration balance, changing sensations will be felt as the pitch rises:

• There will be a feeling of registers rotating from heavier to lighter sounds meaning that the vocal muscles (closers and stretcher) are sharing control - setting up an interactive equilibrium - like someone using both legs and shifting their weight back and forth from one leg to another so as to maintain balance on a surfboard as they ride a wave.
• There will be a feeling of pitch adjustments with more vocal cord thickness vibrating for lower pitches and less thickness as the pitch rises - which gives the singer the sensation of a pitch "staircase" - low pitches feel “down and in front” and higher pitches feel like movement “back and up” as you walk backwards up the staircase with flexible firmness.
• As a result of register rotation and pitch adjustments as the singer moves up the range, resonance vibrations will change from the mouth and nasal area to the area behind the eyes and forehead - with a possible change in color shading from piercing brightness to mellow darkness (depending on the level of vocal cord closure and open/closed vowels).

As one can see, there are many registration and resonance sensations that can be explored so that the voice is physically free to move and create different sounds useful for artistic expression. Of course, if one gets frozen or stuck in a particular “place” or feel, then free and healthy movement is inhibited which limits the singer’s ability to communicate emotion through a song text. One can get unstuck by working on registration (development and coordination of vocal muscles and vocal cords) and resonance (shaping vowels and emphasizing different tonal colors) so that registration and resonance sync up to energize and give life to your vocal tone.

Resonance Terminology

Resonance for singing has often been described using certain terminology. To further understand the role of resonance, here are important definitions to keep in mind as you learn:

• Forced Resonance - Vocal cord and laryngeal vibrations amplify your sound. Forced resonance is associated with the larynx vibrating in tune with the vibrations emanating from the moving vocal cords. When vocal muscles work well and laryngeal stability is achieved, then the "singer's ring" appears - present no matter what vowel is being sung.
• Sympathetic Resonance - Head and neck vibrations enrich and amplify tone quality. Sympathetic resonance is associated with spaces of the neck and head that vibrate in tune with vibrations created by the vocal cord adjustments. When this occurs, there is vowel definition and different "colors" created like bright or dark and biting or sweet.
• Nasal Resonance - The nose and nasal cavity is a non-adjustable resonator but can play a role in resonation. The raising of the soft palate shuts off the nose and nasal cavity from the resonance mix. The lowering of the soft palate brings the nose and nasal cavity into the resonance mix. When the nose and nasal cavity are added to the mix, then nasalized tone qualities appear - in consonants like N or M or when emphasizing a “twangy” brightness useful in certain musical styles like country music or musical theater.
• Resonance Vibrations - Feelings of vibrations in the area of your nose, sinuses, face, head, or chest. These vibrations are related to sympathetic resonance, and can differ depending on registration, vowel shaping (open/closed), and tonal colors (bright/dark).

Essentials of Singing

The foundations of singing are Respiration, Registration, and Resonance. All three foundational elements work together to transform sound waves into singing. That said, understanding other elements that are essential to singing can enhance both vocal function and artistic expression:

• Posture - A posture with healthy individualized alignment allows your body to be energized and ready to sing with flexibility for movement and firmness for strength. The benefits: breathing muscles expand freely, unnecessary tension is reduced, and the stage is set for you to focus on airflow, registration adjustments, and resonance shaping.
• Articulation - The lips, teeth, tongue, soft palate, and jaw are used to help shape vowels and form consonants. Freedom of movement is necessary for singing words and phrases. With a healthy registration balance and resonance shaping, the articulators are set free to move. Vowels become clear and have an appropriate size and shape for the pitch and volume being sung. Consonants become crisp and reflect off the top of the vowel. Consonants should not feel like they push the vowel up from below. Consonants act like helpers. Some examples: N or M can help narrow or size down a vowel, Z can help sync up moving air and moving muscles, S or relaxed F can help encourage airflow, G can help with vocal cord closure, B can help direct vowel tone back and up and assist vowel modification for singing high notes, and Y can help tongue and jaw to move freely.
• Vibrato - Vibrato is an even oscillation above and below the pitch being sung. Vibrato appears as a result of free vocal function - a balance between moving air, moving muscles, and vowel shaping. Two types of dysfunctional movements often mistaken for vibrato: wobble (too heavy and slow with rigidity) and tremolo (too fast and uneven with tension). Vibrato is used in classical music and opera. Vibrato is also used in music theater and popular musical styles, often at the end of a sustained word or song phrase.
• Straight Tone - Straight tone is when the pitch being sung has no vibrato oscillation. Straight tone can indicate excess tension if one is unable to release the “straight” or held tone and allow vibrato. Straight tone is healthy when vibrato is also present; indicating balanced movement. Straight tone is used in choir singing for blending voices as well as for artistic expression in musical styles from early renaissance to pop and rock music.
• Vocal Range - The vocal range is how low and how high you can sing with clarity. The vocal range expands safely over time as you work on the foundations of singing. A very effective vocal range for singing songs is around 2 to 2 ½ octaves in your full voice.
• Voice Type - Singers can be categorized into voice types depending on vocal range, vocal weight, timbre, and tessitura. Common voice types: Bass, Baritone, Tenor (male voices) / Alto, Mezzo-Soprano, Soprano (female voices). Voice type classifications can be helpful in choir settings, opera and music theater, and even for those singing popular musical styles. It is important to note that healthy vocal training focuses on developing and coordinating muscle systems so that your free and natural voice emerges. As your natural voice emerges, then your voice type can be identified with much more certainty.
• Warm-Up, Workout, Cool-Down - Your voice is a physical instrument with multiple interconnected muscle systems working together to create sound for singing. A good vocal exercise routine helps you develop and coordinate these muscle systems safely.
• Vocal Improv & Tonal Play - Once your vocal instrument is functioning, then you are empowered to explore your voice. Try singing without a specific purpose in mind. Choose a favorite exercise, melody, or song that you love - and then improv or play with pitch, volume, vowels, rhythm, and consonants - even making up nonsensical sounds and words. The point is to have fun and open up possibilities that can encourage spontaneous healthy functional activity and stimulate your creative artistic imagination.
• Vocal Health - Sleep and drink water. Avoid yelling, shouting, or harmful substances before singing. Take care of your unique vocal instrument for a lifetime of enjoyment.

Vocal Training: Concepts, Action, Awareness, Control

Are you a beginner looking to explore your voice or are you a seasoned singer looking for a tune-up? Do you sing in a rock band or do you sing in the car? Would you rather belt musical theater tunes or balance your tone with others in a community choir? Whatever your skill level or functional needs or artistic goals, vocal training can help guide you on the singing journey.

A holistic understanding of how the voice works is necessary for freedom and health as you travel on the singing journey. On this journey, understanding begins with mental concepts. Concepts become real for you as you take vocal action. Action leads to a vocal mind-body awareness. Awareness allows you to have a special kind of vocal control with your conscious mind knowing how to participate with your organic vocal instrument to create and transform sound into singing. Of course, this singing journey can be challenging, especially if you are journeying alone. Seek out a voice teacher or a vocal coach to help guide you along the way.

What might you expect from vocal training? Well, there are many forms that vocal training may take - and all are valid as long as you are empowered to experience vocal freedom and health. Here is a general outline of one possible form of functional evidence-based vocal training:

• Basic Vocal Function will be Explained
• Helpful descriptions and analogies related to vocal function might be used.
• A mental conceptual framework will be created for a beginning understanding.
• Various Vocal Exercises will be Explored
• Clear brief instructions will be given. Emphasis will be on letting go and trusting that the exercise will do its job. So, there is no need to be nervous or overthink.
• Respond as freely as possible when singing the exercise. Notice any feelings or sensations that happen. Weird sounds or “mistakes” are learning opportunities.
• One exercise follows the other. More clear brief instructions will be given. Feelings related to function will be discussed. Then, you sing the next exercise.
• Constructed exercise patterns of pitch, volume, and vowel - sung in a rhythmic flow - will stimulate various muscle systems to respond in a predictable manner.
• If the exercises meet your vocal needs, then multiple interconnected muscle systems will be developed and coordinated. Your natural voice will be revealed.
• Mind-Body Awareness will be Awakened
• Vocal function becomes internalized. A lightbulb shines with many “aha” moments. Your conscious mind becomes educated as your voice springs to life.
• Understanding deepens as you gain kinesthetic awareness - like a sixth sense that allows fluid precise movements and a special control over those movements.
• Learning how to sing is a process of letting go, allowing, exploring, discovering, and participating with nature so that you can express your heart and soul in song.

Enjoy Your Singing Journey

The singing voice is truly a biological marvel capable of transforming energy and airflow into sound waves that are shaped to express the emotional highs and lows of life through song. Understanding basic vocal function focused on the foundations of singing is vital for the journey:

• Respiration - energy and airflow are supplied so that muscles can move and adjust.
• Registration - vocal muscles and vocal cords develop and coordinate to create tone.
• Resonance - vowels are shaped and tuned to enhance, amplify, and project your tone.

These foundations of singing will give you a roadmap for the singing journey. As you follow the roadmap, then you will experience ups and downs with much learning and fun all along the way. Enjoy your journey towards greater vocal freedom and health. Explore singing the styles of music you love. Celebrate your vocal awakening. Sing with all your mind, heart, body, and soul.

 Vocal training can be done through in-person or online voice lessons with guidance from a voice teacher or a vocal coach. The VoiceLessons.com App is a unique online platform that solves the sound delay issue so that online singing lessons are almost identical to in-person lessons. At VoiceLessons.com, you will be empowered to express yourself. So, take the next step on your singing journey, and sign up for either group lessons or individualized instruction.

The information presented in this brief overview covers the basics of vocal function. Descriptions offer a helpful generalized roadmap. Of course, there are individual variations from person to person. Feel free to investigate your unique voice and experience what works for you!

If you are interested in knowing more about Vocal Function and Vocal Technique, then study the following works of Cornelius L. Reid: Essays on the Nature of Singing, Bel Canto: Principles and Practices, The Free Voice: A Guide to Natural Singing, and Voice: Psyche and Soma.