A Primer on Vocal Production
Vocal production consists of four components. The first of these is the initiator of sound, i.e. the breath, which includes the muscles of inspiration and expiration. The primary breathing muscles are diaphragmatic and intercostal.
The diaphragm, a band of tissue that forms a kind of partition between the thorax and abdomen, lowers to allow the lungs to fill with air. The ‘rib’ muscles, or intercostals, help to expand the rib cage to allow inspiration to take place. During expiration, the abdominal muscles surrounding the diaphragm enable the diaphragm to gradually return to its dome-shaped position just below the rib cage. The main task of the singer in breathing properly is to keep an active posture: feet slightly spread apart, knees not locked, shoulders comfortably back, chest slightly out/floating rib-cage, arms relaxed on the side, head balanced so that the chin is neither too high or too low.
The second component of vocal production is the ‘vibrator,’ i.e. the vocal folds.
The vocal folds are contained within the larynx. The vocal folds come together
(glottis=opening between the vocal cords) and are controlled by the two main cartilages: the cricoid and the arytenoid. The main task of the singer is to keep the jaw relaxed and the larynx in a ‘floating’ position so as to avoid a constricted sound.
The third component of vocal production is the ‘resonator.’ I.e. the pharynx or spaces above the vocal cords. The various resonance cavities amplify the vibration of the vocal cords. The shape of a particular resonance cavity creates specific vowels and in conjunction with the articulators provides intelligibility to the words being sung.
The fourth component of vocal production is the ‘articulator,’ i.e. the lips, the teeth, the tongue, and possibly other parts of the vocal anatomy such as the palate. The articulators are primarily responsible for the consonants (both
‘voiced’ and ‘unvoiced’) being sung.
The area of vocal production that is sometimes the most challenging for choral musicians is that of resonance. Each voice part and individual voice has his/her own unique timbre. These timbres also change according to the range or tessitura of a voice part or individual voice. For example, a tenor voice will often find it easier to sing an “ee” vowel in his upper range, while a soprano will find it easier to sing an “ah” vowel in her upper register. When working with high baritone or tenor voices in a medium high range, it may be better to start a sound on an “ee” vowel and then gradually modify to “ah,” trying to keep the same ‘ring’ and focus (not to mention pitch) in the sound as it modifies to an “ah.”
Conversely, for sopranos, I would start on the “ah” vowel (again a medium high note) and then gradually modify to an “ee’ while keeping the jaw relaxed ja and soft palate raised (as when singing “ah. ) The same transition exercise can be repeated going from “oh” to ‘oo.” Start with ‘oo’ for tenors and ‘oh” for sopranos.

For altos and basses do the same exercises on what would be considered a medium high note in their ranges.
Working with vowels and resonance is important to good intonation. Sometimes an “ih” vowel (as in “sing”) needs a bit of the bright resonance that is found in the
”ee” vowel. On the other hand, sometimes an “ee” vowel may need a bit of the buoyancy and resonance space found in a proper “ah.”
The “eh” vowel (as in the last syllable of “Kyrie”) can also be challenging at times.
For both men’s and women’s voices, there are a couple of points to consider.
One is the raising of the soft palate. The second is the relaxed jaw (avoid any
‘jutting out’ of the jaw). And the third is to keep the tip of the tongue gently touching the bottom of the lower teeth. On the “eh” vowel (always avoid “ay”) as the range goes higher for men’s voices, I have found it helpful to modify to more of an “ih”(as in “sing’) to avoid the horizontal spreading of the sound. This might be considered ‘covering’ the voice slightly. In my experience, women’s voices tend to open the “eh” vowel as the range goes upward. While helping intonation, this modification of the “eh” vowel also helps to keep the sound ‘free.’
Dr. Henry Schellenberg, Professor of Church Music at Providence College,
Otterburne, Manitoba
Selected sources
1. Books:
Scott McCoy. Your Voice: An Inside View (Inside View Press,
2004).
Richard Miller. The Structure of Singing (Schirmer Books, 1986).
2. Articles:
Stephen F. Austin. “Voice Science in Vocal Rehearsal”
Part I: CJ Dec. 2007: 55-66; Part II: Feb. 2008: 59-73 .
Kenneth W. Bozenan, “ Registration Strategies for Training the
Male Passagio.” CJ June/July 2008: 59-72.
Patti H. Patterson. “ Alexander or Feldenkreis: Which Method Is
Best?”
CJ May 2007: 9 –15.