The Singing Voice: A Basic Operating Manual or: Of Parachutes, Vibrations, and Pears Michael Connolly hhat a wonder, this j body should be in balance, ready for singing voice we have been given! How amazing that it can re produce itch and text in huge dynamic and emo- tional range! It is a marvel when the singing voice can affect istenersin away that speech rarely can, ‘Most mysterious of al is that most of us singers produce this sound without really knowinghow wearedoingit! ‘When aperson has been given good cars and musical instincts, itis pos- sibletosing withoutany knowledge cf, or training about, the body's ‘own musical instrument. Our sing- ing voice is a gift of God through heredity and mature, but how we singers choose to develop itis our response to God’s gift. Every sing- ing voice can be improved, in the same way that an athlete or dancer can refine physical skills. The skill of singing is dificult to mastes, be cause of the piysical abilities re- uired, the time needed to practies, And the challenge of learning to feel something withinour own body thar ‘another person is describing in ‘words or pictures. Challenging itis, ‘but wort dhe effort. ‘This article offers @ primer on the function of the singing voice. ‘The first partis an explanation of the parts of the human anatomy inyolved, so that you can begin ro think about your body in a way ‘which will improve your singing. ‘Good singing, like good dance, re- uires both the body andthe mind to be engaged and active. Posture, Standup straight? Yes, your mother was right. Tosing well ‘we need to have good posture. The (IA QUARTERLY FALL 1991 actipn. The head is comfortably high and level, suspended above the neck and back ‘The shoulders are down and relaxed, not ‘up and tense. The chest is held high, iF you are proud of yourself, but not in a ‘iff, military pose. Stand’as if you are ready tomove atany moment. One footis slightly in front of the other, with the weight evenly distributed, The knees are steady but not locked, When it s neves- Fig. 1. An ouline view ofthe relaxed (sold line) ‘and contracted (dotted ine) diaphragm sary to sit fr singing, move toward the front of the chair, with your back away from the chair’s back. Slouching pre- vents good breathing. Sitas if younced to get up quickly. The good singer stands and sits actively. Your body must be ready! ‘The singing voice. There are three parts ofthe human singing voice: (1) dhe breathing mechanism, (2) the larynx, and (@) the throat and mouth. ‘The breathing mechanism. ‘Simply put, the lungs are lazy. Yes, ‘we breathe with them, but they do ‘ot cause us to breathe, The Hangs {do not expand of contract on their ‘own. A complex group of muscles inthe chest and abdomen make that hhappea. Themostimportantofthese is the diaphragm. We singers like to talk about the diaphragm 2 2or, but mast of as don'treally know where itisor whatitdoes. Wehave always been told to “sing from the dia- phragm,” but what inthe world does that mean? ‘Thediaphragmisamusck: which divides the chest cavity from the abdominal cavity. It cuts the torso clear theough and is found near the bottom oftheribs. When iis atrest, or relaxed, it is dome-shaped. It flattensas contracts. Tis causes. vacuum in the Iungs and they fill with ar, ike to think of the diaphragm looking like a parachute, Have you seen 8 group of children lifting one until it billows and enjoying itas it Jowers to the ground again? Think oftherelaxed diaphragmintheshape of that rounded parachute and the contracted neas being flat, as ifthe children have pulled it out tight. (ee figure 1)Daring singing the chest remains comfortably high,notheaving withevery breath, and the shoulders stay relaxed and down. Daring inhaltion the abdomen ‘will move out. Al of tose vital organs ‘ust go somewhere when they are dis- placed by the diaphragm! This all hap- pens quickly. However, ‘oingthereverseinslow motion is the trick of breath management for singing. Singers need prevent the diaphragm from simply relaxing and forcing all ofthe air out in one whoosh, “Singing from the di phragm’ requires eam- ing to provide a steady stream of air for the ‘Breath management isthehard workofsing- Fig. 2.4 ing Ttisisometticexer- veal folds cise. Thisistrueforloud fram above. orsofisinging. You want yourftce,chest, and shoulders o give the impression that singing is easy, but your lower body is ‘working hard. Remember how a duck swims: floating gracefully, but paddling, like crazy below the water. ‘Exercises for base Breathing. Sing- ‘exsnced learn how tifeelsto breathe in this way. fis not the way we usualy do it instinctively. To ieorn how the abdomen should move, ie onyour backwitha book just above your navel. Breathe so that the book rises and falls. Keeping the chest stable i very important! Then inhale for four slow counts and exhale for four. ‘Keep the book moving steadily. Finally, inhale for four counts and hss to exhale Jor eight. As you get better, increase the hiss to twelve and sixteen counts. Ifyou are doing this correctly the book ‘will lower very gradually. When the book ‘wants to lower, resistitby ently pushing ‘agains it. That resistance to collapse is the essence of breath management. This same exercise can be done, without the ‘oak, while on all fours, or standing with ‘your hands clasped behind your head. The advantage to these positions is that ‘thechestisforcedto be stable sothat you can concentrate on breathing lower. Ifyouhavetrouble getting thesenseof theenergyrequired andwhere youshould feelihatenergy.iry singing whileholding ‘something fairly heavy (10-15 pounds) at ‘your belt line with your elbows at your Side. You can also try the following with 4@ pariner, Hold your palms up, again | with the elbows at the side. You sing, ying to hold your forearms up while ‘your partner presses down on them. Both of these engage the diaphragm and ab- dominal muscles in a way that is helpful tosinging. . ‘The larynx. To produce any found, somethingmustvibrate, tion takes energy. The breathingmechanismis the voice’s power sup- ply. andthe vocal folds, ‘or cords, in the laryox ‘are what vl Proper breath man- ‘agement prodiites a steady stream of air to the vocal folds (se fig- ure 2). When we are about to sing, the folds draw together figure3), ied view ofthe nearly closing the glo slotis as seen ts, theopeningbetween them. The air fores it ‘open. The folds come back together and the process is repeated, causing sn au- ible vibration. To sing the A above ‘middle C requires the folds to open and ‘come backtogether 440 times persecond! “The ideal vocal attack occurs when the folds draw together atthe same time the air begins to flow. The air flow actually helps to close the glots by pro- ducing @ vacuum, sad then the air pressure overcomes the muscle tension ofthe closed vo- calfolds. Thisamazingly efficient systern fails if the singer closes the slots tightly and then bursts it open with air Pressure, The result, Ta called a giottal attackor FB. 3. The stroke, is unattractive sed. ‘and actually dangerous tothe voice. Brercisesfor a proper vocal attack. ‘Many people find it easy to begin the vibration ofthe vocal folds property, with the airstream beginning just asthe folds are nearly closed. For those who do not keow this technique, try this process. Start with summing, onmor‘.Then hum ‘and opento ah. Then begin with ahalone. This helps the singer to think about sing- ing before starting. If a glowal siroke ‘persists, anhican be used to begin the ah. This forces the glotis to be open when vibration begins. However, don't get in and to produce a vibra- | think i. | ‘The throat and mouth. This isthe voice's tiled shower stall. The vibration | produced in the larynx is actually quite } small and unattractive. The throat and ‘mouth respond 0 that vibration Tike shower stall does when we sing there: they amplify the sound and alter it to | make it more beautiful. Vowels and con- sonants are formed asthe throat, mouth, and tongue change shape and position To amplify the larynx’s vibration, space is needed in the throat and back of the mouth. Singing teachers and choir directors often ask you to sing with an ‘openthroat. That space is whatthey want. ‘The soft palate, which has the uvula banging down, mustrise, asitdoes when you yawn, The term pear-shaped tone is. Sometimes used to visualize this open space. The pear-shape in questions acta- ally the formation ofthe space inside of ‘ve mouth: big in beck end smaller in front, as if you ad a small, whole pear in ‘your mouth. This shape produces a full, round vocal sound. ‘The jaw should be relaxed, able 10 drop down and slightly back. The tongue is generally flat for vowels. The lips and tongue are active for consonants. Singers with lazy diction can- not be well understood, Forfurther information ‘on diction for cantors, see my article in the Summer 1990 GIA Quarteriyentitied “But Can't Understand the Cantor,or‘Say What?” Bxercises for the ‘mouth and throat. It can be very dificult for singerstojeelwhatthey ‘should bedoing intheir ‘mouth and throat to vocal folds when produce the space re quired for beautiful tone. We all now where the softpalate is because we lift it when we yawn. Be attentive as you yawn. Feel the space inside, Conirol of this lifting can be Tearned. Imagine thatthe doctor wants to tap your uvula with a tongue depressor. Do what you can to get it away from the stick. This requires raising the soft pal- ate, Torelax the jaw sing, “Ya, ya, ya, ya, ya.” Open the mouth comfortably and ‘move the jaw as litle as possible. Think- {ng ih-ah instead ofee-sh will help. Gently continued on page 40 | the habitofadding anhtoeveryword. Just (IA QUARTERLY ALL 1991,” ‘among the churches. Admitting women to positions of power through ordination, is nota step forward, he says, unless we ‘question the nature of ordination and its patriarchal framework. Men's theology could take its place alongside of feminist theology, acknowledging thatneither one speaks for the whole human race, and there.can begin a discovery ofthe beauty and worth of specifically male experi- “Lastly, Wren reminds heologiansand hymn writers that, at Beir best, refer- ences to God ar King, God, Almighty Father, and Protector (KINGAFAP) arouses wonder. The news that the di- vine, all-powerful King could humble ¢ — The Singing Voice conte rom page 1! rushing your hands down the sides ofthe jw wil a hep drop. A relaed ow helps Drove the spoce needed side ‘Singing high pots well ira challenge. rst of a, cee your pose and brea tnanagemen hen be sr tha here space Inthe bck ofthe moh Tr makes igh tes eae. Keep oor head level. Tipping thea for igh nots loses rch th ice. 7 imitating a-siren sarge Iigh and moothy meting down tol * — Compassionate Church continued from page 13 calls us to assuage the wounds of sudden Aisuess. Words wedded to stupa like "Shelter ‘Me, © God” by Bob Hurd (Gather 3276) the Taaé “Tests, Remember Me" (Wersip, 14423) will consle the somowing. The death ‘of the young always presents an added Challenge. Whethetis child, newly bor, ‘teen, o personin their young twenties, the sound of compassion might be as simply profound as Kathleen Thomerson's "I Want to Walk Asa Child ofthe Light” When choir dlrectrstaketheircluefomthose whomour, the hymn choioes will be most appropriate, ‘Rehearsal pattems vary, Some directors require a weekly practice. Others mect a half hour before the funeral, and some once or twiceamonth. The degrees proficieney and voice quality, as well as time constraints, govern the preparation time. Simple arrangements Of the melody with « decent, such as Ernest Sands's “Song of Farewell” (Oregon Catholic Press) work well as the procession to the place of final commit CIA QUARTERLY FALL 1867 himself and die for us has continuing imaginative power. God is revealed as impassioned, suffering love which tri- ‘umphs, not Because it wins bales with demonic powers, but because itis endur- ing, exuberant, and unquenchable ‘What Language Shi I Borrow is at once easy to read and not easy ta read. ‘Wren's style is most engaging, his topic cenainly current, his vantage point as fhymnist vital to our ministry as musi- cians. This book can be uncomfortable to read because Wren takes aim at one- sided language, metaphor, and under- | standing of God and begins to stretch our beliefandfaith. These beginningstretches are like beginners aerobies—a shock to bitch. Fel the space inside. Also tr hooting like an owl or “Booping” lke a computer. Whenyow canfeelthaspace,sing sustained 00. This will bea falseto sound. Balding ‘srength and corfidence with cis technique ‘wil! make i easier to sig ful high notes. ‘Cantors whoneed vocal training wilhave to rely on the parish music director, choir ietor, ora private teacher Private lessons allow a teacher to encourage your stengths and prescribe exercises for weaknesses. Group lessons are usualy available from universi= tiesandcommunity colleges Leamingtosing from a book is like leaning co swim without ‘ever geting into the water. Itean give you an idea, but another person is required 10 give begins ‘Evangelization, Final leave taking is formally ritualized through the prayers blessings, holy water incense, andsongafte assembly. When that sembly response is stunned lene, the supportive sounds ofthe ‘Church around them offer a healing salve t ‘heir pain. The integral role and the power of the music might be giving an experience of Godthat some mourners may have missed for many years. The choir becomes the evangelizer. ‘Social dimension. Singing at funerals hasnt boon the sole eccupation of these choirs, Several sing weekend Masses once & ‘month or on feast days (Le. Christmas) where ‘choir at each eucharistic iturgy enhances the celebration ofthe day. One parish joined all ther choirs togesher forthe Thankspiving Day Mass and the Easter Vigil. Besides promoting a stronger union ofall the music ‘ministers inthe parish the added challenge to Tear more dificult music improved Ue sails insight reading and enlarged the parish repertoire. Some funeral choirs have been ‘Known to sing at weddings! ‘Bonding 2curs when people spend large amouns of time together in work play, and pondering the Divine Mystery. eis nourished ‘hen proper gratitude is expressed often by unused muscles straining at neglected ‘exercise, But there is wonder ahead, as we revel Jn ways less idolatrous, more freeing, ‘and more true to the Triune God and the direction of love in the Anointed One, Jesus. Ml (©1990, Hope Pblising Co, Cool Steam, IL) Sheila Browne, RSM, is director of music and IirurgyatSt Kevin’ sCharchinFlushing,New York. She is a regular conbuior t0 the Liturgical Conference Homily Service andto CChureh magazine. + suggestions, feedback, and encouragement. “Those wi teach cantorsand choirs about singing technique may find these hepful: Haasemann, Frauke, and James M, Jordan. ‘Group Vocal Technique. Chapel Hil, NC: Hinshaw. Video-1989, book-1991. McKinney, James C. The Diagnosis and Correction of Vocal Faults. Nastvlle: ‘Breadman, 1982. ‘ennard, William. Singin: the Mechanism ‘and the Technique, revised edition. New ‘York: Cart Fischer, 1967. Michael Connolly is the director of luurgieal ‘music and assistant professor of music athe University of Porta, Portland, Oregon the pastor en’ music director. Luncheons peradially throughout the year, or coffee nd donuts between two funerals scheduled fn the sume day, model the hospitality ofthe aiving and receiving Chistian community. ‘Music allows the community to cexpressconvicuonsandfelingshat ‘words alone may fall t convey. I has the power to console and uplift the mourners and o strengthen the unity of the assembly in fli and love (OCF, #30), ‘Whatever we call them, the Consolation Choir, Resurection Singers, or the Adios Chorale, we have living proof thatthe mera choir has become one ofthe Caurch’s mast, ‘weasured ministries. ‘Special gratitnde is expressed to the Parish Litrgicl Musi Directs of the Diocese of ‘Toledo for ideas, suggestions, and assistance inthe preparation ofthis article. Ml Sister Joyce LaVoy, OP, is a former director of liurgy in the dioceses of Pensacola. Tallahassee andToledo, Presently she directs ‘the parish liturgy and music at St Jon the Baptist Church in Toledo, Ohio