Allen Rascoe

Allen Rascoe

Teaching Experience: 25 years | Voice Teacher

11/05/2025 |2 min to read

Mouth as resonator

Share:
LinkedInFacebookX
Mouth as resonator

Mouth as Resonator

A common misconception in singing is that the mouth is a primary resonator. In reality, the mouth actually does not make a good resonator due to its overall fleshiness. For a singer to achieve a free and clear tone, the mouth must actually be “de-tuned” as a resonator. This means we should avoid directing the vibrating column of air into the mouth as a primary "feel" or thought, and we should never attempt to force the tone to be placed “well-forward.”

The Imaginary Line: Mapping the Voice

To understand where the voice should "live," imagine a straight line dividing your face from the back of your head. This line acts as a map for your vocal steps:

  • Low Pitches: The feel of the step is in front of that imaginary line, right underneath the hard palate, but remaining on the same level as the soft palate.
  • High Pitches: The steps move behind that line and travel "up" as you ascend the scale.

Even on a low pitch, the sensation should remain "lifted" rather than being dropped into the front and bottom area of the mouth.

Detuning for Better Articulation

When the mouth is "detuned" as a resonator, it is set free to do its primary job: articulation. The lips, teeth, and tongue are then available to shape consonants and provide the finishing touches on vowels without being hampered by the pressure of the air column.

The Result of Proper Registration

When vocal registration is functioning properly, the air column assumes the correct height, diameter, and direction. This automatically "detunes" the mouth, giving the singer a sensation that the pitch "step" is lifted above the oral cavity. The result is a voice that sounds resonant and a diction that becomes effortless and clear.

Conclusion: Freedom in the Front

By moving the focus of resonance away from the fleshy parts of the mouth and toward the stable "steps" of the pharynx and palate, you unlock your voice's true potential. Stop trying to "place" the sound in the mouth. Instead, focus on the lifted coordination of your registration and let your mouth do what it does best—tell the story.

About the author

Allen Rascoe

Allen Rascoe

Allen has been enjoying singing since he was a little kid. He officially studied voice at ECU and USC. However, he ran into some vocal trouble. The search for healing led him to the studio of Dr. Joel Ewing, and into the world of functional vocal mechanics. Allen has explored vocal truth, and thus highly recommends the writings of E-Herbert Caesari, Cornelius Reid, and William Vennard. He is blessed to invite and accompany folks on the journey towards vocal wellbeing. The adventure awaits!

Read more