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Students of singing spend a lot of time chasing the physiology involved in

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singing technique. This misunderstanding neglects the need to better
understand the role that the acoustics play in training and singing, namely, the
physiology of singing follows the acoustics. That is to say, if the acoustics, or

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formant is tuned properly, many of the physiological issues that occurs
when singing such as pushing and constriction tend to go away.

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Beyond the acoustics, there is another realm of consideration, the mental

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programming of singing that we refer to as “audio imagery” in singing. Audio

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imagery deals with how singers use visualization to tune the acoustics of
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singing, which then calibrates the physiology of great singing. A balanced

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triangulation of mental imagery, acoustics and physiology eventually balance to

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enable the singing voice to have great range, freedom, agility and beauty. In
short, a chain reaction that starts with proper mental imagery, moves to tune

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the proper acoustics for singing, which in turn, configures the physiology

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required for a high performance phonations, used in singing.

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So long as a singer perceives frequency in an orientation of “up/down”
and “low/high”, the body will always respond with pushing and

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constricting. The body reacts to a struggle, that struggle too often is the
singer’s efforts to “hit a high note”. When students view higher frequencies

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as something that is “up/down” or “low/high” and higher frequencies that
has to be “hit”, they will never find great vocal freedom. Stop saying, “I’m

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singing, but it makes you sound silly.

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trying to hit a high note”! It not only reinforces bad auditory imagery for you

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The solution is to train your auditory imagery to view frequency as

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T something that exists in a horizontal orientation, instead of a vertical

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orientation. What used to be “high” is now “back”, what used to be low,
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is now “forward”. When the auditory imagery for frequency begins to change

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in this fashion, suddenly the body begins to lower the acoustic mass of the
singing, modify vowels for singing more efficiently and essentially balance the
formant in an optimized fashion.

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Robert Lunte Demonstrating Formant Shifts at a Master Class in Italy. – The Vocalist Studio

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