vocal tips

Lesson 1: Posture: The Basis For All Good Singing
Lesson 2: Breath: The Fuel For Singing
Lesson 3: Phonation: Creating The Sounds Of Music

Vocal Production Lesson 3
Phonation: Creating The Sounds of Music

(This series was previously published in The Pitch Pipe during the mid-90s. The series was so popular during its first run we have decided to update and bring it back for an encore.)

By Betty Clipman, past international president, international board of directors, master director, judge specialist moderator, certified judge, Houston Horizon Chorus, Region 10 

Phonation is the act of producing vocal sound in either speech or singing. It involves the vocal folds (also called vocal cords), as well as the breathing mechanisms we have already discussed.

In addition to playing a part in the creation of sounds, the vocal folds help protect the trachea (windpipe) and respiratory system from foreign matter. They approximate, or close, when the brain signals them to do so.

Three actions cause the vocal folds to close:

• Swallowing, in which the vocal folds close so that swallowed matter is directed through the esophagus into the stomach, and not through the trachea to the lungs.

• Bearing down (as in childbirth or elimination) or lifting heavy objects, in which the vocal folds close in order to build thoracic pressure and provide strength; and

• Producing sound, in which the vocal folds close with varying levels of tension to produce the different pitches on which we sing or speak.

The first two of these actions close the vocal folds tightly, creating a high level of tension in the vocal apparatus. The production of sound, on the other hand, closes the vocal folds more loosely. When the vocal folds are closed properly for singing, there is a great degree of freedom and relaxation in the vocal apparatus.

It is nerve impulses originating in the abdominal area that help the vocal folds to close properly for singing or speech. Thus, the sound must come from the abdominal area as the abdominal muscles lift the air up and out across the vocal folds. The process is fourfold:

• Inhalation, or breathing in;

• Suspension, a brief interlude after inhalation;

• Exhalation, or breathing out; and

• Recovery.

Phonation occurs in step three, exhalation, and the start of the sound is called the “attack.” In singing, the most important word of a phrase is the first word, which requires a proper attack.

Phonation must begin with the attack occurring deep in the breathing apparatus, not in the throat. When phonation begins in the throat it is called a glottal attack, because the sound is created by the shock of the glottis closing. (The glottis is the elongated space between the cord-like edges of the vocal folds; the term is sometimes used to describe the structures that surround the space as well.)

In order to attack properly in singing, we must leave the vocal folds and pharynx open and relaxed during inhalation, suspension, and the beginning of exhalation, in one continuous process. WE use the abdominal and breathing muscles, rather than glottal attack, to begin the sound.
As with any other technique for good singing, we must practice using the proper mechanisms for phonation and attacks in order to understand how they feel when they work correctly. With sufficient practice, the seemingly complex techniques become second nature, although they always require focus and hard work.

Exercises That Help The Singer Learn Proper Phonation

Remember to stand in correct singing posture and to breathe properly. Keep in mind that you want to achieve the correct method of phonation, placing the sound on the column of air that has already begun deep in the chest and abdomen.

Exercise 1

Think about blowing out birthday candles. Begin to blow and then turn the breath into an “ooo” sound on a comfortable pitch. Feel the tone begin in the breathing muscles. Repeat.

Exercise 2

Hiss a familiar song, such as Happy Birthday, using no words or tones, just hissing.

Exercise 3

This exercise is from the video package “The Joy of Singing: Warmups for Healthy Singing,” featuring exercises by International Faculty Specialist Britt-Heléne Bonnedahl. It is available through the international sales department.
Take a deep breath. After beginning exhalation, and using no singing tone, place the following unbroken series of sounds on the breath: sssssssssssssssffffffffffffch

Exercise 4

Any sound that starts with “h” helps the singer begin exhalation before phonation. Start with two short blows, then sing two short “ha”s on a comfortable pitch. Repeat. Now repeat again, singing one step higher. Continue in this manner.

Exercise 5

We produce a breathy tone if we allow an audible breath sound to come first, before placing a tone on it. This exercise strengthens the abdominal muscles in addition to providing practice in phonation.

Holding the chest high and wide, inhale through the nose. Sing the following exercise, using the “h” at the beginning of each word to give sound to your exhalation before forming a tone. Begin on a comfortable note and move up and down the scale, making each note staccato and using these sounds and notes (1=do, 2=re, 3=mi, etc.):

hip hip hip hip
1 2 3 4

hah hah hah hah
5 5 5 5

hah hah hah hah hah
5 4 3 2 1

Exercise 6

This exercise is from the book and audio tape package How To Train Singers, 2nd Edition, by Larra Browning Henderson (1991, Parker Publishing Company, a division of Simon & Shuster), and is reprinted by permission. The purpose of the exercise is to “help get the breath moving, strengthen the chest and lower abdominal muscles, and coordinate the muscles of the abdominal area and thorax.
“First pull the lower abdominal muscles up rather quickly and silently, allowing the air in the lungs to be expelled through the lips which are slightly rounded (but not tight).

The lower abdominal muscles become taut, then are released quickly, and the air is allowed to come into the lungs. This should be repeated two or three times.

“One hand should be placed just below the sternum and the other hand just above the pubic bone. The hands are placed in these positions to emphasize the full extent of the involvement of the entire abdominal area. Then, with a whispered ‘hoo,’ the abdomen should be pulled up quickly, still allowing the air to be expelled through the gently parted lips. At the end of the breath supply, a sharp voiceless ‘k’ should be sounded (but not felt in the throat), which should cause a slight clutching of the muscles of the lower abdominal area just above the pubic bone. Keeping the torso high, release the abdomen and let the air fall into the body causing the abdominal area to pop out. The diaphragm drops and the outside air pressure fills the lungs. The hook exercise is completed three times with a rest between each set of three.

“It is also advantageous at times to sustain the ‘hoo,’ and you will feel the entire torso, the flanks, and the lower abdominal muscles all being involved.”

In her book, Ms. Henderson includes a further discussion of this exercise, in which she answers many questions you might have about its procedures, physiological actions and benefits. It would be to the benefit of most singers to read and study this book. The package is available through international sales.

More information can be found at www.sweetadelinesintl.org