Chapter 1: The parts that govern closure and airflow
There are various rules for how the voice is produced.
- As air passes through the throat, it moves the vocal folds so that they come together and produce the voice.
- The body contains several parts that support vocal-fold closure and several that control the amount of air.
- Compared with low notes, high notes require the vocal folds to come together more times per second.
- If too many parts that support vocal-fold closure are active, the closing force exceeds capacity—like excess weight—and makes the quick vocal-fold movements needed for high notes harder.
And so on…
Among these principles, knowing which parts are involved in closure and airflow is especially important.
As the pitch rises, reducing the number of parts supporting closure makes the vocal folds lighter and freer to move, making high notes easier.
However, this also reduces their ability to withstand air pressure. If the air is stronger than the closure can tolerate, the folds cannot hold it, the closure breaks down, and the voice flips or cuts out.
This is the high-note dilemma that everyone experiences.
That is why, when producing high notes, you should:
- Reduce the parts supporting vocal-fold closure in the appropriate order as you move through the scale.
- Choose an appropriate amount of air for the strength of each closure.
With this control, you will reduce the strain and tension of throat constriction and pushing the voice to resist excessive air pressure, making each part of your range easier.
The basic principle of Voish voice training is to establish a cycle of adjusting vocal-fold movement and the amount of air supplied.
Optimizing vocal-fold movement and airflow helps you produce both high and low notes consistently.
Chapter 2: Voice control and unintended movements
Most problems in controlling the voice are caused by unintended movements of the parts involved.
In other words, parts that are not needed start working on their own and interfere with the parts you intended to use.
To resolve this, it is important to operate each part separately while learning to understand and recognize its movements correctly.
Knowing “right” and “left” lets us understand and choose the “middle”. In the same way,learning to control each part separately lets us suppress unwanted movements and bring out and develop the parts we actually wanted to use.
But do not mistake a part that was moving unintentionally for a part that is inherently bad for producing the voice.
Until now, they have helped you to:
- Put more strength into the body.
- Maintain balance more easily.
- Take in more air.
These parts and balances have been essential for everyday activities.Because you have used them fully every day, their habitual movements and effectshave simply become more likely to appear when you sing, too.There are also sounds that can only be made using those very parts.
What matters is building up a wide collection of movements and of the sounds and states created by combining different parts.
Take your time learning which balance gives the sound you want, and discover the best way to produce your voice.
Finally
I hope that, by now,
You can see how the particular ways of moving and combining parts learned in everyday life can lead to various limitations of the voice when speaking or singing.
I would be very happy if even a little of that idea has come across.
Voish voice training offers exercises to reconsider how you use your throat and body and to optimize the movements of each part involved in producing the voice.
I hope you will learn the basic principles, master control of your range and volume, and enjoy a fulfilling life with your voice!