Voice Passagios : Adventures With An Amazing Instrument
Ever since Manuel Garcia grasped a look at what he referred to as the "voice box" in 1855, using a simple mirror, we all know that Passagios DO exist ...
Voice Passagios : Adventures With An Amazing Instrument
Ever since Manuel Garcia grasped a look at the "voice box“ in 1855, using a simple mirror that he stuck into his throat, (the beginnings of the laryngoscope) - we all know that passagios DO exist and that we are dealing with a physiological fact with no wild imaginations. Garcias‘ hope of gaining a wider knowledge of the action of the vocal folds was satisfied, but at the same time he was convinced that nothing had been gained through his invention as far as the fundamentals of voice culture were concerned. Some 150 years later the discussions continue whether or not the physical facts on the most amazing instruments of all, the human voice, should have any influence on the singers of today and in what aspect and range.
Since the range, pitch and intonation of the voice is depending on a solid knowledge and handling of the passagios, my personal teaching is supporting the proper handling on crossing passagios to the fullest. Multiple muscle groups have to work together properly to make a healthy voice usage possible:
(M.= musculus)
To lengthen and thin the cords out: M. cricothyreoideus a group of muscles responsible for the position of the arytaenoid cartilages and tension of the vocal folds is called: m. thyreoarytaenoidei and contain the following muscles:
As you work up through your register you will experience different „resonance sensations“ :
As you will pass through your passagios (or bridges) a tightness in your pharynx or/and larynx may appear. Now it is important to check on two possible errors you might have made:
When these two interfere, tightness in the voice box/larynx and imbalance of the produced tone may/will appear. (check exercices).
I recommend to get a medical book and look at the basic facts of the voice anatomy. Learn, understand and have a clear picture of your instrument in order to be able to manoeuvre it 100% and get full vocal freedom. Check with your voice teacher for further informations and open questions. When you buy a piano, guitar or violin, you would also like to work with the entire instrument to enjoy the richness of all its colors and possibilities. You dont have to become a medical expert as a student or vocalist, however as a vocal coach and teacher it is your duty to be informed about the voice processes as much as possible. When you buy a new instrument, you read the instructions as well, before you start using it. To install all these technical foundations, and continue a steady working and training schedule as a professional singer, has only one solid reason: 100% vocal freedom. When I have a full functional voice and know how to use it, - the fun can begin.
Knowing that there is only one Joe Cocker out there and a few Nora Jones‘, I have to tell my students that they should never mix up the two issues: Technic and Style. Once I have installed my vocal freedom, I can sing whatever style I want, whenever and how often the demands may be. I can afford to forget all technical aspects and lean back into style and emotions as much as I please, because I know at all times how to use and rebalance my voice. Now HOW MUCH FUN that will be!
Since the range, pitch and intonation of the voice is depending on a solid knowledge and handling of the passagios, my personal teaching is supporting the proper handling on crossing passagios to the fullest. Multiple muscle groups have to work together properly to make a healthy voice usage possible:
(M.= musculus)
To lengthen and thin the cords out: M. cricothyreoideus a group of muscles responsible for the position of the arytaenoid cartilages and tension of the vocal folds is called: m. thyreoarytaenoidei and contain the following muscles:
- closes the last third of the vocal folds by uniting the arytaenoid cartilages: M. transversus
- closes the first two thirds of the vocal folds: M.lateralis
- tips the arytaenoid cartilage backwards and opens the folds: M. posticus
- regulates the fine tension on the folds: M. vocalis
As you work up through your register you will experience different „resonance sensations“ :
- ( so called) chest voice register: in the chest and bottom of the throat
- the middle voice or mix : in the back of your pharynx and behind the nose
- (so called) head voice: in the front of your head
- super head and whistle register: in the back of your head...
As you will pass through your passagios (or bridges) a tightness in your pharynx or/and larynx may appear. Now it is important to check on two possible errors you might have made:
- the excitement and anticipation of the „high note“ made you tighten up your outer larynx muscles>> you need to relax them (check with my exercices).
When these two interfere, tightness in the voice box/larynx and imbalance of the produced tone may/will appear. (check exercices).
I recommend to get a medical book and look at the basic facts of the voice anatomy. Learn, understand and have a clear picture of your instrument in order to be able to manoeuvre it 100% and get full vocal freedom. Check with your voice teacher for further informations and open questions. When you buy a piano, guitar or violin, you would also like to work with the entire instrument to enjoy the richness of all its colors and possibilities. You dont have to become a medical expert as a student or vocalist, however as a vocal coach and teacher it is your duty to be informed about the voice processes as much as possible. When you buy a new instrument, you read the instructions as well, before you start using it. To install all these technical foundations, and continue a steady working and training schedule as a professional singer, has only one solid reason: 100% vocal freedom. When I have a full functional voice and know how to use it, - the fun can begin.
Knowing that there is only one Joe Cocker out there and a few Nora Jones‘, I have to tell my students that they should never mix up the two issues: Technic and Style. Once I have installed my vocal freedom, I can sing whatever style I want, whenever and how often the demands may be. I can afford to forget all technical aspects and lean back into style and emotions as much as I please, because I know at all times how to use and rebalance my voice. Now HOW MUCH FUN that will be!
feb 2008, GREEN VOICES©by Joy C Green, Munich, Germany
for the Voice Council Team
for the Voice Council Team