There are two sets of muscles that control the vocal registers. These muscles are called the thyroarytenoid (TA) and cricothyroid (CT). To sing contemporary (popular) musical styles, the strength in these sets of muscles must be especially balanced and coordinated. When one ensemble is much louder than the other, vocal problems like these occur:
- Limited vocal range.
- Frustrating pitch issues.
- Lack of control of “licks” or vocal embellishments.
- Limited choice of vocal tone colors.
- Lack of ability to mix the voice.
- The vocal register is broken.
- vocal tension.
The CT muscles “work” the head voice, or upper vocal register, by lengthening the vocal cords by bending the thyroid cartilage. The TA muscles “work” the chest voice, or lower vocal register, by shortening and thickening the vocal cords, of which they are the core.
People who struggle with chest voice need a stronger head voice (controlled by the CT muscles). People who have trouble hitting lower notes (common with classically trained singers trying for a contemporary sound) need to strengthen the TA muscles. For a singer, more important than knowing the names of these muscles is learning to identify the sensations…how the voice should feel and operate…when these muscles are balanced.
When there is an imbalance, vocal training can strengthen the weak set to match the strong set. How? The way to strengthen any muscle is use it — and use it correctly. Here are some tips:
* If you tend to strain at the top end of your chest voice (also known as pushing chest voice):
Practice singing with the voice in your head. Do exercises that take you much higher than you normally would when singing songs, but make sure you don’t bend over or push yourself up to do it. Just go as high as you can effortlessly. Keep doing this regularly and you’ll strengthen the muscles that control your upper register. Your head voice will begin to influence your chest voice and you will be able to sing notes that were previously difficult or almost impossible to reach without straining.
* If you are classically trained and find it difficult to avoid lowering your voice too much in your head when performing contemporary (non-classical) songs or musical theatre:
Practice singing in your chest voice. Feel the vibration in her mouth and chest; avoid a “hootie,” “plugged,” or hollow sound. Establish your chest voice the same way you should your head voice…stretch up tall and don’t lean forward or slouch. Sing songs and do exercises that bring you into the middle voice, but keep the voice “talking”; don’t “pass” to lead vocals. Important… while using this voice, DO NOT PUSH. In fact, it’s helpful to imagine a plane of glass in front of your mouth when you sing…try not to leave a breath mark on it. Make sure you’re in a chest voice. If you’re not sure what register you’re singing in, find a good singing teacher who can help you learn to identify the corresponding sensations of being in your head or chest.
When you achieve balanced strength in your TA and CT muscles, you will appear to have ONE integrated vocal range, because the voices from your chest and head can easily blend into what is commonly called a “mixed voice.” The most accomplished and masterful voices are also the most mixed.
For highly effective vocal muscle balance exercises called “combination steps,” as well as more great vocal instruction, look for the 6-CD package on the website below: