Pierrot mit der Guitarre by Honoré Daumier
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Have you ever played an instrument you could see? Did seeing it help you learn how to play it? Vocalists are at a huge disadvantage because they never get to see the instrument they are playing. This can lead to frustration, built up mythology and inefficient methods for creating the sounds we want to produce.
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While none of the muscles inside the larynx can be felt or directly controlled, having a clear concept of how each body part works gives vocal learners and instructors direct and clear guidance when devising methods to achieve their vocal goals.
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where is the larynx?
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The larynx sits at the top of the trachea.
The trachea , or the windpipe, is a tube made of cartilage that allows air to travel to and from the lungs. The vocal folds, also called vocal cords, sit inside the larynx. Their primary function is to protect the airway and make sure nothing unwanted goes down the trachea in the lungs. |
what is the larynx made of?
"Stretch"
Crichothyroid (CT)
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"Thicken"
Thyroarytenoid (TA)
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"Open"
Posterior Crichoarytenoid (PCA)
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"Bring Together"
Lateral Crichoarytenoid (LA)
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"Bring Together"
Interarytenoid (IA)
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HoThe larynx is made of 3 main cartilages (one is paired), 1 bone, and 5 muscle groups.
The vocal folds are attached to the cartilages. The 2 main cartilages can rock and glide on top of each other to change the vocal folds' shape.
There are muscles that help bring the vocal folds together.
The vocal folds come together to
a) keep unwanted particles out of the lungs
b) stop airflow
c) phonate (i.e. make sound, speaking, singing)
There are muscles that open the vocal folds.
The vocal folds open to
a) let air in (inhalation/inspiration)
b) let air out (exhalation/expiration)
The opening and bring together muscles are antagonistic (when one activates, the other has to release). However, except in extreme cases, the opening and bring together muscles are always activated simultaneously. Their trade-off happens rapidly in a back-and-forth manner, adjusting as needed in response to breath and acoustic variables, and to our desired outcome as encouraged by the brain.
There are muscles that stretch and thin the vocal folds
In phonation, when the vocal folds stretch they
a) change the pitch created by the vocal folds
b) increase tension on the vocal folds to create higher pitches
There are muscles that shorten and thicken the vocal folds
In phonation, when the vocal folds thicken they
a) contribute to a 'heavier' sound
b) contribute to a 'louder' sound
c) decrease tension on the vocal folds to create lower pitches
The stretching and thickening muscles are antagonistic (when one activates, the other has to release). However, except in extreme cases, both the stretching and thickening muscles are always activated simultaneously. Their trade-off happens rapidly in a back-and-forth manner. This article by Soren Lowell and Brad Story explains in greater detail the uniqueness of these muscle's antagonism based on simulated trials.
Lowell, Soren Y. and Brad Story. Simulated effects of cricothyroid and thyroarytenoid muscle activation on adult-male vocal fold vibration. Journal of the Acoustic Society of America. April, 2006, pages 386-397.
The vocal folds are attached to the cartilages. The 2 main cartilages can rock and glide on top of each other to change the vocal folds' shape.
There are muscles that help bring the vocal folds together.
The vocal folds come together to
a) keep unwanted particles out of the lungs
b) stop airflow
c) phonate (i.e. make sound, speaking, singing)
There are muscles that open the vocal folds.
The vocal folds open to
a) let air in (inhalation/inspiration)
b) let air out (exhalation/expiration)
The opening and bring together muscles are antagonistic (when one activates, the other has to release). However, except in extreme cases, the opening and bring together muscles are always activated simultaneously. Their trade-off happens rapidly in a back-and-forth manner, adjusting as needed in response to breath and acoustic variables, and to our desired outcome as encouraged by the brain.
There are muscles that stretch and thin the vocal folds
In phonation, when the vocal folds stretch they
a) change the pitch created by the vocal folds
b) increase tension on the vocal folds to create higher pitches
There are muscles that shorten and thicken the vocal folds
In phonation, when the vocal folds thicken they
a) contribute to a 'heavier' sound
b) contribute to a 'louder' sound
c) decrease tension on the vocal folds to create lower pitches
The stretching and thickening muscles are antagonistic (when one activates, the other has to release). However, except in extreme cases, both the stretching and thickening muscles are always activated simultaneously. Their trade-off happens rapidly in a back-and-forth manner. This article by Soren Lowell and Brad Story explains in greater detail the uniqueness of these muscle's antagonism based on simulated trials.
Lowell, Soren Y. and Brad Story. Simulated effects of cricothyroid and thyroarytenoid muscle activation on adult-male vocal fold vibration. Journal of the Acoustic Society of America. April, 2006, pages 386-397.
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Visit the Interactive Larynx site for an in-depth look at how each laryngeal muscle group moves
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What's the larynx's purpose in the body?
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Because protecting the airway is such an important job, the body spared no fineries in this part of biology. That's why there are multiple muscles that do the same task: bringing the vocal folds together. In case one set of muscles fails, another set can take over.
The vocal folds will also come together in tasks like lifting heavy objects, defecating, and child birth. If air is not allowed to escape past the larynx, pressure will build in the torso offering more resistance for a difficult task. This is why you may hear a grunt after an heavy lifting. This is the air is escaping in a large burst after being held below the vocal folds during the task. The secondary function of the larynx is to create sound. Muscles in the larynx bring the vocal folds together which interrupts air escaping the lungs. The number of times they interrupt the airflow per second creates the pitch. See our page on How We Make Sound for more information.
Note that the muscles of the larynx put the vocal folds into position for vibration. They do not vibrate themselves to create the pitch. |
View of larynx looking down the throat into the trachea
The vocal folds close for tasks like heavy lifting
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HOw does the larynx contribute to the sound being made?
The Thickening Muscle (The TA muscle)
When the heavy muscle that shortens and thickens the vocal folds is active, a larger bulk of the folds is active in vibration.
This affects the quality of the sound.
For lower notes, the folds vibrate slower and therefore can remain shorter and thicker. For higher notes, the folds vibrate faster. It can be easier to allow just the edges of the folds to vibrate, meaning the TA Thickening Muscle will be have to be less active.
This is likely where we get language like
"let go as you get higher", "don't push the top note", "turn it over, transition early","don’t bring up the weight"
When the heavy muscle that shortens and thickens the vocal folds is active, a larger bulk of the folds is active in vibration.
This affects the quality of the sound.
For lower notes, the folds vibrate slower and therefore can remain shorter and thicker. For higher notes, the folds vibrate faster. It can be easier to allow just the edges of the folds to vibrate, meaning the TA Thickening Muscle will be have to be less active.
This is likely where we get language like
"let go as you get higher", "don't push the top note", "turn it over, transition early","don’t bring up the weight"
 Top view of vocal folds stretching, looking down the throat into the trachea
The Stretching Muscle (The CT muscle)
The CT muscle connects the two main cartilages that hold the vocal folds. When the CT Stretching Muscle contracts, the cartilages can rock and glide on top of each other resulting in the vocal folds lengthening, thinning, and stretching. The amount of stretch that occurs helps change the pitch being produced. For the vast majority of people's vocal ranges (even down into the lower part of their range), the CT stretching muscle engages more dominantly than the others. This is particularly important when considering the antagonism with the stretching and thickening muscles. Because most people speak in a limited and low pitch range, coordinating this muscle as dominant in the coordination can often be the most difficult to access in new singers, who rarely use it for speech. |
Side view of the CT muscle stretching the vocal folds
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Trade Off Between Muscles
The heavy thickening muscle (TA) and the stretching thinning muscle (CT) are considered antagonistic. As one increases activeness, the other must decrease.
When people experience a crack or break in the voice, it may be a result of the shortening muscle and the stretching muscle having an unbalanced trade off in muscle coordination.
However, except in extreme cases, both the stretching and thickening muscles are always activated simultaneously. Their trade-off happens rapidly in a back-and-forth manner. This article by Soren Lowell and Brad Story explains in greater detail the uniqueness of these muscle's antagonism based on simulated trials.
Lowell, Soren Y. and Brad Story. Simulated effects of cricothyroid and thyroarytenoid muscle activation on adult-male vocal fold vibration. Journal of the Acoustic Society of America. April, 2006, pages 386-397.
The heavy thickening muscle (TA) and the stretching thinning muscle (CT) are considered antagonistic. As one increases activeness, the other must decrease.
When people experience a crack or break in the voice, it may be a result of the shortening muscle and the stretching muscle having an unbalanced trade off in muscle coordination.
However, except in extreme cases, both the stretching and thickening muscles are always activated simultaneously. Their trade-off happens rapidly in a back-and-forth manner. This article by Soren Lowell and Brad Story explains in greater detail the uniqueness of these muscle's antagonism based on simulated trials.
Lowell, Soren Y. and Brad Story. Simulated effects of cricothyroid and thyroarytenoid muscle activation on adult-male vocal fold vibration. Journal of the Acoustic Society of America. April, 2006, pages 386-397.
The vocal folds themselves are a highly specialized combination of muscle, ligament, and mucosa. The vocal ligament is of particular interest, because it is able to bear significant amounts of pressure. This is one reason why the human vocal folds are able to phonate over such a large range of notes. In the image below, the thin pink line represents the vocal ligament.
Language around laryngeal muscle interaction
When we begin to understand laryngeal muscle function, we create opportunities to speak with greater clarity about the voice. Traditional voice terminology uses terms like "head voice" and "chest voice" to describe vocal registers. Laryngeally speaking, most of what defines the difference between these two metaphors focuses on a singular event in the voice known by various labels like "break, crack, flip, etc." Everyone who has tried to glide across their range from low to high has felt this event. Without getting too deep into the weeds of the "registration" discussion (see more on our Vocal Registers? page), when we choose to view the voice as a wider collection of events than just the one "break", new opportunities open up.
To discuss the differences in laryngeal activity in ways that don't depend upon the "break", we like to use terminology that focuses on muscle engagement and interaction. For example, when a sound has more harmonics overall (described as brighter, bigger, heavier, etc.), more of the muscle mass of the vocal folds is in contact. By contrast, when a sound has fewer harmonics overall (described as warmer, richer, pure, etc.) less of the muscle mass of the vocal folds is in contact. In this configuration, they might even be in a ligament-dominant posture, meaning that the thickening muscle isn't touching at all. The benefit of describing laryngeal muscle interaction with this kind of language is that it provides two points of distinct information that align with science and are visible in a spectrogram such that a vocalist can see them in addition to hearing them.
Other actions of the vocal folds can be described in similar ways. We've found that when we allow our more metaphoric/less specific language to recede from our vocabulary and be replaced by specific language, learning increases at a rapid pace, and future confusion tends to be replaced by exciting questions.
Here are some of the events and language that we use
Muscle mass variations
The amount of the vocal folds that touch during vocal fold vibration impacts the energy in the harmonics produced. When more muscle mass touches during vibration, all harmonics have more energy, when less touches, all harmonics have less energy.
We like to use our hands to demonstrate this, showing the palms and fingers in vibration for the full muscle mass, and fewer fingers for less muscle mass, flipping to the first fingers alone for a ligament-dominant position.
When the thickening muscles (TA) touch during vibration, they assumes the bulk of the strain on the vocal folds. When the thickening muscles (TA) do not touch in vibration, that is, when the folds are on their edges, the vocal ligament assumes the bulk of the strain on the vocal folds.
Three important elements to remember:
1) The stretchy (CT) and thickening (TA) muscles are always both in use, and in a constant, rapidly-changing dance with one another. There isn't a moment when one stops and the other starts (except in certain range extremes). There is, however, a moment when the thickening (TA) muscles no longer touch one another, and therefore are no longer in vibration.
2) There are countless variations of how the thickening muscle (TA) can be in vibration. When the full muscle mass touches during vocal fold vibration, for example, vocalists create the greatest amount of harmonic output. If that outcome is desirable, knowing how it feels and sounds will be important for recreating it. The same can be said of any muscle mass configuration.
3) Without the most sophisticated equipment, a vocalist can't be sure of exactly how much muscle mass is in vibration. We use our ears and understanding of the instrument to get a general idea of muscle use. The brain's need to narrow potential options often leads people to create two or three metaphors to describe what is actually endless varitety (head, chest, and mix, for example). Finding ways to create clarity in your thinking, and measurable repetition can be delightful explorations.
Opening and Bring Together Muscles
The interplay between the opening (PCA) and bring together (LCA and IA) muscles can influence sound output in significant ways. The engagement of these muscles often depends upon how acoustic back pressure aligns with breath pressure from below (see our Acoustic Strategies page, scroll down to "inertance"). When acoustic alignment is not sufficient to meet breath pressure demands, the bring together muscles (LCA and IA) further engage to ensure continued phonation. This can often result in a "pressed" sound. If the bring together muscles (LCA and IA) respond slowly, or without focus, a "breathy" sound can result. Like the stretchy (CT) and thickening (TA) muscle interaction, there are countless variations in the rapid dance that the opening (PCA) and bring together (LCA and IA) muscles engage in, and each of these variations creates potential for artistic exploration.
Johan Sundberg in The Science of the Singing Voice, uses the terms "breathy", "pressed", and "flow" to describe three potential postures of the opening (PCA) and bring together (LCA and IA) muscles. Breathy and pressed are described above. "Flow" phonation generally describes a posture wherein acoustic back pressure and breath pressure are more equalized, allowing the opening (PCA) and bring together (PCA and IA) muscles to interact with greater ease. (Sundberg, Johan. The Science of the singing Voice. Northern Illinois University press, 1987, pg 79-85).
Maximum Flow Declination Rate
How quickly the vocal folds come together adds another important element to the overall discussion. The scientific measurement for this element is the "maximum flow declination rate." Simply put, it means the rate at which the flow of air from the beneath the vocal folds stops. For simple shorthand, you can refer to it as the "closing rate". Remember that each time the vocal folds are in full contact, the air flow ceases for that moment. This "full closure" moment is essential for creating sound. How quickly that air flow cessation occurs influences energy in the harmonic output. If the folds come together very quickly, all of the harmonics have increased energy. If the folds come together more slowly, the harmonics have less energy. Hearing the maximum flow declination rate (MFDR or "closing rate") as an unique contribution to sound can be difficult. Like laryngeal muscle interaction, it's impossible to assess specifically without sophisticated equipment. Software like VoxInSilico and Voce Vista's EGG capacity create distinct visual assessments to measure the "closing rate." Being aware of its important contribution, however, can open the ears to new variables in the overall sound, and lead to new language choices. Acoustic choices like increased "twang" can lead to increased MFDR (see Acoustic Strategies for more)
MFDR measures are an important aspect of the research that Lowell and Story explored: Lowell, Soren Y. and Brad Story. Simulated effects of cricothyroid and thyroarytenoid muscle activation on adult-male vocal fold vibration. Journal of the Acoustic Society of America. April, 2006, pages 386-397.
The Break
As mentioned above, the interaction between a muscle-dominant vocal fold posture and ligament-dominant vocal fold posture can sometimes feel like a singular event. This transition can be one in which the strain on the vocal folds transfers directly from the thickening muscle (TA) to the vocal ligament, but, it can also be more gradual. When the dance between the stretchy (CT) and thickening (TA) muscles meets an abrupt transition such that the amount of vocal fold mass leaps from a muscle dominant posture to a ligament dominant posture, the entire mechanism (breath pressure, vocal fold mass, and acoustics) destabilizes for a moment, creating an auditory "break" in the sound, and a sharp physical and emotional response. We choose to see this event as a part of the mechanism as a whole, rather than defining vocalization by it. There are many physical and acoustic approaches to helping the stretchy (CT) and thickening (TA) muscles learn to coordinate smoothly. By contrast, some styles like yodeling require that this event be emphasized. Psychological attention to allowing this transition to be an acceptable part of the process can often be as important.
Remember that the vocal folds are highly complex structures, and we can't feel them. Learning to track sensations that accompany the many and varied vocal fold adjustments can be a tricky business, but can also lead to some distinctly reliable information. The transition moment can occur at many points across the vocal range, sometimes by choice, and sometimes without intention. Learning to navigate this event can be an important part of voice training.
*Ingo Titze defines the interplay between stretchy (CT) and thickening (TA) muscles as such: "The thyroarytenoid (TA) muscle, which is known to be active in modal register [mode 1], bulges the vocal fold medially below the level of the vocal processes [where the vocal folds connect to the arytenoid cartilages]. This creates a thicker and deeper vibrating structure. In falsetto register [mode 2]...the ligament is called upon to support the longitudinal tension. In modal register [mode 1], the entire cover (including the ligament) is lax and the TA muscle is used to regulate the effective tension of the vocal fold." (Titze, Ingo R. Principles of Voice Production, page 291.)
For more information on acoustic contributions to register changes, see our Acoustic Strategies page.
When we begin to understand laryngeal muscle function, we create opportunities to speak with greater clarity about the voice. Traditional voice terminology uses terms like "head voice" and "chest voice" to describe vocal registers. Laryngeally speaking, most of what defines the difference between these two metaphors focuses on a singular event in the voice known by various labels like "break, crack, flip, etc." Everyone who has tried to glide across their range from low to high has felt this event. Without getting too deep into the weeds of the "registration" discussion (see more on our Vocal Registers? page), when we choose to view the voice as a wider collection of events than just the one "break", new opportunities open up.
To discuss the differences in laryngeal activity in ways that don't depend upon the "break", we like to use terminology that focuses on muscle engagement and interaction. For example, when a sound has more harmonics overall (described as brighter, bigger, heavier, etc.), more of the muscle mass of the vocal folds is in contact. By contrast, when a sound has fewer harmonics overall (described as warmer, richer, pure, etc.) less of the muscle mass of the vocal folds is in contact. In this configuration, they might even be in a ligament-dominant posture, meaning that the thickening muscle isn't touching at all. The benefit of describing laryngeal muscle interaction with this kind of language is that it provides two points of distinct information that align with science and are visible in a spectrogram such that a vocalist can see them in addition to hearing them.
Other actions of the vocal folds can be described in similar ways. We've found that when we allow our more metaphoric/less specific language to recede from our vocabulary and be replaced by specific language, learning increases at a rapid pace, and future confusion tends to be replaced by exciting questions.
Here are some of the events and language that we use
Muscle mass variations
The amount of the vocal folds that touch during vocal fold vibration impacts the energy in the harmonics produced. When more muscle mass touches during vibration, all harmonics have more energy, when less touches, all harmonics have less energy.
We like to use our hands to demonstrate this, showing the palms and fingers in vibration for the full muscle mass, and fewer fingers for less muscle mass, flipping to the first fingers alone for a ligament-dominant position.
When the thickening muscles (TA) touch during vibration, they assumes the bulk of the strain on the vocal folds. When the thickening muscles (TA) do not touch in vibration, that is, when the folds are on their edges, the vocal ligament assumes the bulk of the strain on the vocal folds.
Three important elements to remember:
1) The stretchy (CT) and thickening (TA) muscles are always both in use, and in a constant, rapidly-changing dance with one another. There isn't a moment when one stops and the other starts (except in certain range extremes). There is, however, a moment when the thickening (TA) muscles no longer touch one another, and therefore are no longer in vibration.
2) There are countless variations of how the thickening muscle (TA) can be in vibration. When the full muscle mass touches during vocal fold vibration, for example, vocalists create the greatest amount of harmonic output. If that outcome is desirable, knowing how it feels and sounds will be important for recreating it. The same can be said of any muscle mass configuration.
3) Without the most sophisticated equipment, a vocalist can't be sure of exactly how much muscle mass is in vibration. We use our ears and understanding of the instrument to get a general idea of muscle use. The brain's need to narrow potential options often leads people to create two or three metaphors to describe what is actually endless varitety (head, chest, and mix, for example). Finding ways to create clarity in your thinking, and measurable repetition can be delightful explorations.
Opening and Bring Together Muscles
The interplay between the opening (PCA) and bring together (LCA and IA) muscles can influence sound output in significant ways. The engagement of these muscles often depends upon how acoustic back pressure aligns with breath pressure from below (see our Acoustic Strategies page, scroll down to "inertance"). When acoustic alignment is not sufficient to meet breath pressure demands, the bring together muscles (LCA and IA) further engage to ensure continued phonation. This can often result in a "pressed" sound. If the bring together muscles (LCA and IA) respond slowly, or without focus, a "breathy" sound can result. Like the stretchy (CT) and thickening (TA) muscle interaction, there are countless variations in the rapid dance that the opening (PCA) and bring together (LCA and IA) muscles engage in, and each of these variations creates potential for artistic exploration.
Johan Sundberg in The Science of the Singing Voice, uses the terms "breathy", "pressed", and "flow" to describe three potential postures of the opening (PCA) and bring together (LCA and IA) muscles. Breathy and pressed are described above. "Flow" phonation generally describes a posture wherein acoustic back pressure and breath pressure are more equalized, allowing the opening (PCA) and bring together (PCA and IA) muscles to interact with greater ease. (Sundberg, Johan. The Science of the singing Voice. Northern Illinois University press, 1987, pg 79-85).
Maximum Flow Declination Rate
How quickly the vocal folds come together adds another important element to the overall discussion. The scientific measurement for this element is the "maximum flow declination rate." Simply put, it means the rate at which the flow of air from the beneath the vocal folds stops. For simple shorthand, you can refer to it as the "closing rate". Remember that each time the vocal folds are in full contact, the air flow ceases for that moment. This "full closure" moment is essential for creating sound. How quickly that air flow cessation occurs influences energy in the harmonic output. If the folds come together very quickly, all of the harmonics have increased energy. If the folds come together more slowly, the harmonics have less energy. Hearing the maximum flow declination rate (MFDR or "closing rate") as an unique contribution to sound can be difficult. Like laryngeal muscle interaction, it's impossible to assess specifically without sophisticated equipment. Software like VoxInSilico and Voce Vista's EGG capacity create distinct visual assessments to measure the "closing rate." Being aware of its important contribution, however, can open the ears to new variables in the overall sound, and lead to new language choices. Acoustic choices like increased "twang" can lead to increased MFDR (see Acoustic Strategies for more)
MFDR measures are an important aspect of the research that Lowell and Story explored: Lowell, Soren Y. and Brad Story. Simulated effects of cricothyroid and thyroarytenoid muscle activation on adult-male vocal fold vibration. Journal of the Acoustic Society of America. April, 2006, pages 386-397.
The Break
As mentioned above, the interaction between a muscle-dominant vocal fold posture and ligament-dominant vocal fold posture can sometimes feel like a singular event. This transition can be one in which the strain on the vocal folds transfers directly from the thickening muscle (TA) to the vocal ligament, but, it can also be more gradual. When the dance between the stretchy (CT) and thickening (TA) muscles meets an abrupt transition such that the amount of vocal fold mass leaps from a muscle dominant posture to a ligament dominant posture, the entire mechanism (breath pressure, vocal fold mass, and acoustics) destabilizes for a moment, creating an auditory "break" in the sound, and a sharp physical and emotional response. We choose to see this event as a part of the mechanism as a whole, rather than defining vocalization by it. There are many physical and acoustic approaches to helping the stretchy (CT) and thickening (TA) muscles learn to coordinate smoothly. By contrast, some styles like yodeling require that this event be emphasized. Psychological attention to allowing this transition to be an acceptable part of the process can often be as important.
Remember that the vocal folds are highly complex structures, and we can't feel them. Learning to track sensations that accompany the many and varied vocal fold adjustments can be a tricky business, but can also lead to some distinctly reliable information. The transition moment can occur at many points across the vocal range, sometimes by choice, and sometimes without intention. Learning to navigate this event can be an important part of voice training.
*Ingo Titze defines the interplay between stretchy (CT) and thickening (TA) muscles as such: "The thyroarytenoid (TA) muscle, which is known to be active in modal register [mode 1], bulges the vocal fold medially below the level of the vocal processes [where the vocal folds connect to the arytenoid cartilages]. This creates a thicker and deeper vibrating structure. In falsetto register [mode 2]...the ligament is called upon to support the longitudinal tension. In modal register [mode 1], the entire cover (including the ligament) is lax and the TA muscle is used to regulate the effective tension of the vocal fold." (Titze, Ingo R. Principles of Voice Production, page 291.)
For more information on acoustic contributions to register changes, see our Acoustic Strategies page.
In this video, a male singer glides from low in his range, beginning in mode 1, until his vocal folds flip into mode 2. Notice how the folds begin quite wide and loose and then lengthen and become more stiff across the glide, showing increased stretchy muscle (CT) activity. When the folds flip into mode 2, you can see more space between the folds, and a general thinning in the folds. Try watching without sound, and see if you can notice the moment when the change occurs.
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Amount of Vocal Fold Closure (Adduction)
4 out of the 5 muscle groups in the larynx are in charge of closing the vocal folds. The amount of closure that occurs is called adduction. If the folds are less adducted - more air escapes, the sound may be percieved as "breathy". The more adduction the folds have, the more upper harmonics will be present in the sound. See our Harmonics vs. Formants page for more information. |
Definitions
Adduction - When the vocal folds come together, vocal fold closure, necessary for singing Abduction - When the vocal folds pull apart, vocal fold opening, necessary for breathing Glottis - the slit-like opening in between the vocal folds where they meet together |
exercises that focus on coordinating laryngeal muscles
what you might hearThe sound is pressed, forced, tight
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what might be happening at the level of the larynxThe heavy muscle (TA muscle) may be too active and the vocal folds may be squeezing together excessively
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vocal exercises to tryLip trill with just air and then go into a lip trill with sound behind it. Notice the moment when air turns to sound. Is it forceful or easy?
Spoken exercise: Wwwwwait a minute Wwwelll Well Well Notice the ease of the 'w' sound Read a sentence out loud as if telling a story to a child Sighs Vocal fry |
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The sound is breathy, weak, airy
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The muscle groups in charge of closing the vocal folds are not active enough, extra air is escaping through the glottis
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MiuMiuMiu
MiamMiamMiam Ngggggg GangGangGang Glides through a straw The back pressure of nasal consonants and straw phonation can encourage the vocal folds to come together |
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The voice breaks or cracks, a giant shift occurs when going from low notes to high notes
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The trade off between the stretching and the thickening muscle may be unbalanced.
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Slow slides on a lip trill, hum or through a straw
Think about the highest note in the phrase as you breathe in before singing. Early preparation and early transitioning can encourage a less sudden shift in muscle trade off. |
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High notes feel difficult, a feeling of reaching or pushing occurs when going up in the range
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The stretching thinning muscle may not be active enough. If the folds are allowed to stretch and vibrate on their edges, high notes may feel easier.
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Puppy whines
Whimper Whine- I don’t wannaaaaaa Elf giggles, hoo hoo hoo Imagining a tiny easy sound 
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take aways
- Singing and speaking involve muscle coordination. Just like other athletic activities, these muscles can be trained for optimal coordination and fatigue resistance.
- Warm ups and exercises can be designed to target specific muscle groups.
- Unlike some athletic activities, training the muscles involved in singing requires coordination rather than strength. Having a bulked up crico-arytenoid (CT) would probably not be beneficial if the neural pathways to coordinate its movement were not in place.
- The muscles inside the larynx cannot be felt and cannot be directly controlled. The muscular sensations you might feel during phonation are probably in the jaw, tongue, neck and pharynx. Visit our Jaw, Tongue & Neck and Vocal Tract pages for more information.
- The transition between mode 1 and mode 2 is a singular event that can occur in many parts of the range. Vocalists can learn to control when that transition occurs.
Disclaimer: We have tried to give credit to all of the images that we've used that are not our own, or believe them to be in public domain.
If you see something that is yours that you feel is being used without proper permission, please let us know and we will gladly credit you or remove it. Thanks for your help!
If you see something that is yours that you feel is being used without proper permission, please let us know and we will gladly credit you or remove it. Thanks for your help!
