Your Thoughts (About Singing) Matter

One of my favorite parts of being a voice trainer is meeting a new student. During the initial sessions I am able to ask some fundamental questions. Among them are: “How does your voice work?” “What do you need to do to sing higher?” “What do you think constitutes a good breath?” The responses range from vaguely correct to blatantly dubious. Their answers are essential because I need to know what they think is going on and how they can moderate what is happening. It is why I have a sign in my studio that reads, “Thoughts Inform Actions.” 

 

So, these thoughts in my students’ heads. Where do they come from? Should I be at all concerned about them? Because thoughts DO inform actions, vigilance is paramount. That’s what today’s Voice Science Podcast written by Timothy Wilds is all about. Let’s get started.

 

The voice is the only instrument housed inside the human body. This makes it convenient to use and easy to transport, particularly in comparison to an upright bass, pedal harp, or Sousaphone. Its internal location does, however, present the singer with some challenges. If a person is stressed or upset, the voice may reveal it. The voice of someone dealing with a disease, such as a thyroid disorder, will likely show signs of its presence. Something as familiar as allergies, a sinus infection, acid reflux, and the common cold or flu will undoubtedly impact vocal function. As with most things in life, we take the good with the bad, remaining awed by how mindboggling unique is the human voice.

 

From the perspective of voice training, the vocal mechanism’s internal location also makes it invisible and intangible, both to the student and the teacher. This demands the use of concepts and images to convey how the voice works. Our dependence on them is why we need to be careful when comparing the function of the voice to things we can see in the world around us. 

 

In my time as a voice trainer, I have learned that most of my students think the solution to any and all things vocal is found in the one word: MORE. They are convinced that above anything else they need more power or energy, which they relate to air and support.

 

Now, why would this be their assumption? What has given them this impression? 

 

I think students observe the world in search of clues to help explain how the voice works and the ways they can affect its function. In essence they set up equivalencies based on their observations. There’s nothing wrong in seeking to understand singing this way–as long as it’s accurate. This is the concern. It is because singers employ thoughts to inform actions and choices, that we must beware false equivalencies.

 

Let me explain this with an illustration. When I meet a new student I also ask what aspects of singing they want to improve. Experience has shown me that the top three wishes are: to sing higher, to hold notes longer, and to be louder.

 

If we take the first request, to sing higher, as an example, let’s think of things we observe in the world that illustrate the act of something increasing in some way. For example, we could be talking about a growth in physical height, a rise in temperature, or the raising of pitch or swelling of volume.

 

So, If you need to reach a high shelf, what do you do? You stand on your tiptoes and extend your arms. If you want a rocket to launch, what do you do? You ignite the fuel in the engines to create thrust. If you want to “Ring the Bell” at the carnival, what do you do? You take the mallet and strike the lever as hard as you can. If you want a tea kettle to whistle, what do you do? You turn the burner underneath the kettle on high.

 

The answer to all of these real-life scenarios require an introduction of additional power or energy. No wonder some assume singing higher requires the same approach. This is why I regularly witness singers who think in order to sing higher, they must take a massive breath and drive the breath from the body as hard as possible. In essence, they are trying to replicate what happens to a tea kettle on the stove. They think that with enough air and pressure, they too can “whistle,” or sing, high like the kettle. There’s just one problem. That’s not how one sings higher. Singing higher pitches requires the contraction of the cricothyroid muscle which in turn elongates the true vocal folds which creates higher pitch frequencies during phonation. That’s what actually has to happen to sing higher. The false notion that singing higher requires more air under more pressure will only lead to frustration and disappointment. This is a prime example of why knowing what is truly required protects a singer from embarking on a journey using a faulty map–the map in this case being a false equivalency that will not deliver them to their desired destination.

 

This is why a voice trainer’s work is helping singers rid themselves of faulty thoughts and replace them with solid information that helps them work with–not against–the workings of the voice.

 

Another place I see thoughts sabotaging action is related to the voice quality known as belting. Again, because some inaccurately think of belting as nothing more than screaming or yelling, they make some fatal assumptions. First and foremost, students think the secret to belting is heaving copious amounts of air. Nothing could be further from the truth, or more certain to kill any hopes of success. Belting requires a higher percentage of true vocal fold closure during the vibratory cycle, i.e., the closed-open loop. The necessary level of fold closure will be interrupted in the presence of too much air. What you think is happening really does matter.

 

There is another defining characteristic of belting. As the name suggests, belting is assertive and electrifying and, in terms of volume, noticeably loud. Again, often students think that loud requires a lot of air and pressure. In reality, the volume of belting is related to the level of fold closure, more specifically the depth of the contact in the true vocal folds, referred to by some as thick folds. The thicker the folds, the greater the level of sub-glottal pressure being accrued. When the closed folds then open, all the gathered sub-glottal pressure bursts forth increasing the amplitude, or the volume. When an excessive level of air meets the thick folds, it causes interference with the preferred level of closure and will diminish the volume level desired. Again, what you think is happening really does matter.

 

Here’s another note on belting. As I’ve stated, the interrelated concepts of percentage of fold closure and the depth of contact in the folds are defining mechanical characteristics of a belting quality. When the true vocal folds are met with excessive air, they can easily drive the singer towards constriction manifested as tightening, straining, or grunting in the sound. Why? Because the presence of too much air is weakening the very condition the folds need for the belt quality. Singers will fight to achieve the quality even if it means crossing lines of good vocal production. (I encourage you to listen to the Voice Science Podcast, episode 2, for a more full-bodied discussion of belting.)

 

If increased volume is your goal, try brightening, by creating ring or twang in the sound. Both are forms of vocal tract resonance that increases the perceived volume level of the voice. This occurs due to the physical adjustments being made in the vocal tract–not by increasing breath pressure or vocal fold effort. The result of increased volume is better projection overall. (To learn more about ring and twang, listen to the Voice Science Podcast, episode 4.)

 

Before bringing this podcast to its summary, I want to address something I said earlier, namely that some students are “convinced that above anything else they need more power or energy, which they relate to air and support.” I am not suggesting that air and support are not foundational for singing. Without them, phonation is nothing but a concept. Understand that my concern lies with the suggestion that MORE is the solution. A singer’s use of breath (air) and body engagement (support or anchoring) is highly nuanced and based on the quality of sound being produced. A one-size-fits-all approach is a fallacy. More importantly, as we have seen in the examples earlier, too much of even a necessary thing, can be debilitating. (As you have time, I urge you to listen to episodes 1 and 6 of the Voice Science Podcast series for more advice about breathing and support.)

 

Thank you for listening to this episode. I hope today’s discussion has helped you to realize how much what you think (about singing) matters. Here are some ideas I hope you take with you:

 

Singers look for ways to visualize what is happening when they sing and often draw comparisons from the world around them.

 

Imagining aspects of singing as “like unto” an everyday activity can be a helpful guide.

 

What is of supreme importance is affirming that the equivalency is true, based on voice science. This is where the guidance of a qualified voice trainer and the information available here at VoSci is invaluable.

 

Beware using false equivalencies. They will not help you reach your goals.

 

Until next time, keep singing and singing smart!