10. Audible Errors in Voice Production

A lazy way of singing or speaking. Usually due to a small mouth open­ing with weak pharyngeal action, resulting in a low position of the soft pal­ate. This permits the breath to pass through the nose. When pressure is applied at the back of the nose to increase the loudness of the tone, the re­sult, due to the smallness of the opening, is nasality. This is a resonance quality that is considered to be objectionable to most listeners. It also limits the vocal possibilities of a singer through constriction in the naso­pharynx, thereby preventing pharyngeal flexibility. See lesson plans on normal resonance quality, pharyngeal enunciation, open vowel singing, and breath support: Lesson Plans Nos. 3, 4, 5, 6, 7, 20. Vocalize on open vowel sounds, arpeggio fashion, using ah and oh, sung with lips and mouth in an open bell or square position.

De-nasal quality

Due to nasal obstructions or crooked septum, swollen membranes be­cause of colds or infection, or breath actually held from passing through nose on nasal sounds. Holding the breath back can also prevent or dampen the free vibration in "nasal" resonance, thereby making tone sound dull or muffled.

See nose and throat specialist for examination and treatment of nasal difficulties. Avoid any radical treatments, such as breaking and resetting nose to correct a crooked septum. Where breath is held back, use humming techniques to establish flow of the breath through the nose. Vocalize bright vowel sounds ee and ay with nasal prefixes m and n, to establish a forward -in-the-masque resonance. See Lesson Plan No. 5. Use technique of yawn­ing for open throat position.

Throaty metallic quality

Overemphasis on open tone singing. Lack of forward-in-the-masque resonance due to weak breath support.

Use humming techniques to establish "nasal" resonance. Lesson Plan No. 5. Use procedure in Lesson Plan No. 20 to establish stronger breath support.   Vocalize front vowels ee and ay with nasal prefixes.

Gutteral Quality

Result of throat constriction with a low mouth resonance. Too much emphasis on the neutral vowel sound uh. Reflected in a low larynx position.

Establish "nasal" resonance, using nasal prefixes with forward vowel sounds ee and ay.   Lesson Plan No. 5.

Hooty quality

Overemphasis of mouth resonance to make a big sound. Weak pharyn-geal action.

Establish normal resonance quality. Establish open bell or open square position of the lips to bring in a stronger pharyngeal production of the vowel sounds.   Vocalize forward bright vowels ee and ay, back vowel ah.

Tight, pinched tone quality

Result of small, tight throat, small mouth opening, and lack of breath support.

Establish open tone and open vowel production. See Lesson Plan No. 7. Use humming and yawning techniques to establish "nasal" resonance with an open throat position.   See Lesson Plan No. 5.

Closed tones too closed

Mouth position too closed, and lips used to pronounce vowel sounds oh and 00.

Use open tone and open vowel production to establish a pharyngeal enun­ciation of the vowel sounds. Establish normal resonance quality. See Les­son Plans Nos .5,6, and 7.

Open tones too open

Overemphasis on throat production, without sufficient breath support.

Establish an open square or bell-like position of the lips to make the tone quality more resonant or mellow. Use humming techniques to create the illusion of the tone being forward. See procedure to establish a stronger breath support:   Lesson Plan No. 20.

White tone
The result of singing in the high voice without covering or closing, and with insufficient breath support.

Establish conception of high voice mechanism, to include registration, and first and second lifts. See Lesson Plans Nos. 12, 13, 14, 15, and 16, and choose plan to fit the problem. Simplest approach is through open and closed tone production. Establish a stronger breath support for singing in the high voice range. The open-square or bell-like position of the lips tends to change the adjustment of the vocal cords into the high voice mechanism;the lateral or smiling position tends to prevent the change, resulting in the white tone.

The straight tone:   no vibrato

Usually due to an inflexible or rigid throat, partly the result of a weak breath support.   Also lack of proper conception of normal tone quality.

Establish normal "nasal" resonance quality to relax swallowing muscles. Establish a conception of projecting the vowel sounds away from the throat. Use trill technique of alternating half steps faster and faster between two pitches in the middle or lower voice. Tap mid-section of student while he sings a sustained tone, or tap gently on his Adam's apple while he is singing to simulate a vibrato.

Tremulo

May be due to poor physical condition or old age, or singing an over­sized hooty sound.

Tone up run down condition with easy physical exercises, and condition the vocal mechanism with intelligent vocalization. Establish or allow changes in resonance placement, from a high forward "nasal" resonance in the low voice, to a "post-nasal" resonance in the middle voice, to a low forward "nasal" resonance in the high voice. The psychological explanation of these changes in resonance placement has been suggested by many teachers as follows: When you sing low, think high; when you sing high, think low. Use staccato exercises to get a better balanced co-ordination between breath sup­port and enunciation.   Speed up vibrato with trilling exercises.

Fast vibrato or goat-bleat

Usually an affectation used by "pop" singers. Sometimes due to a lack of a strong enough pressure flow of the breath to establish a natural vibrato, instead of an artificial one.

Have student make a recording on tape to hear first-hand the speed of the vibrato. Practice slow, sustained exercises with emphasis on breath support. Practice staccato exercises followed by legato exercises to es­tablish a better balance between breath support and enunciation of the vowel sounds.

Breathy quality

Vocal cords not in close approximation. May be due to insufficient breath support; wrong conception of basic quality; closed tone or closed vowel pro­duction; wrong resonance placement, that is, singing low placement in the low voice; a carry-over of a popular song technique of under singing.

Establish conception of normal "nasal" resonance quality, pharyngeal vowel production, and breath support. Use staccato exercises to get better balance between pressure flow of the breath and enunciation of the vowel sounds. Vocalize female voices in chest register below middle C to estab­lish, if possible, a basic clear resonant tone on which to build.

Flat in pitch

May be due to a poor ear or an inferior vocal mechanism; singing in the wrong tessitura; poor musicianship; lack of understanding of closing or cov­ering (registration); lack of support.

When there is doubt as to the ability of a student to hear, it is advisable that he take a Seashore test for musical talent, and a decibel test for acuity of hearing. The voice should be classified as to whether the tessitura of the voice is low, middle or high. Vocalization should be practiced to cover the changes in registration; musicianship should be checked to see if he knows where the half steps fall in different keys, or if he sings by ear. Establish a stronger breath support.

Sharp in pitch

May be due to nervousness; forcing the breath; overshooting the lift points; oversinging; overdramatization of song material; a poor ear.
Staccato exercises may be used to balance the breath with the enuncia­tion of the vowel sounds. Confidence should be built up by singing easier song material in a lyrical style. Establish the rule for diction: Lesson Plan No. 9. If a better understanding of vocal technique does not eliminate the tendency of singing sharp, similar tests as advocated in flat in pitch should be taken by the student.

Harsh quality

May be an inherent quality in the vocal cords that cannot be changed. Usually the result of oversinging with insufficient breath support, the re­sult of illness, poor registration, improper resonation, or insufficient breath support.

Have an examination made of the vocal cords by a reputable nose and throat specialist, to see if they are in a healthy condition or if treatment is needed. Vocalize softly for beauty of tone, and for easy changes in regis­tration.

Hoarse quality

Aftereffect of colds or laryngitis. May be due to oversinging, incorrect production, or singing too long in the extreme ranges of the voice; may be due to fatigue, poor registration, or singing in drafts. May be the result of poor breathing techniques, both on inhalation and exhalation.

Have an examination made of the vocal cords by a reputable nose and throat specialist, to see if they are in a healthy condition or if treatment is needed. Try different resonance qualities to see if an improvement can be made through changes in resonance. Check on co-ordination of the vocal processes by having the student call "hey" in a loud voice; then sing "hey" in a sustained tone. Avoid practicing too long at one time; avoid singing in drafts or cold rooms, or riding in open cars. Do not sing in ranges of your voice where your technique is not established.

Covering or closing the voice tone too soon

Too closed position of the mouth, or exaggerated lip pronunciation of the vowel sounds oh and oo.

Establish open bell-like or open square position of the lips. Sing open vowels, particularly ay and oh, and sing them open higher in the scale. Closing or covering too soon shortens the range, muffles the tone quality, makes the diction less clear. A good rule to follow is: if the resonance quality is too hooty, the tone should be sung open higher; if the tone is too yelly, the tone should be closed or covered.

Errors in pronunciation

Usually the result of one’s speech environment, of poor training, or lack of intelligent direction.

A tape recording should be made of the singer's diction so that correc­tions can be made by the singer himself, or by his teacher. For artistic singing in English, the basic rule as outlined in Lesson Plan No. 9 is sug­gested.

Poor phrasing

Usually due to lack of understanding where phrasing should take place, or lack of sufficient breath to finish a phrase.

Establish definite places according to punctuation, meaning, and the musical phrase where phrasing should occur.

Pronunciation too precise

Attempt to make diction too clear through over-enunciation, articulation, and pronunciation.

Establish rule for diction, Lesson Plan No. 9, to establish good legato. Establish vowel sounds in normal resonance quality for clearness and full­ness.   Articulate consonants clearly and accurately.

Stroke of the glottis

An attempt to make the beginning of a vowel sound clear by a sharp or staccato attack. Has been defined as a diminished cough. Avoid the sharp attack by singing more legato. When attack is too sharp, it acts as a dis­traction. So though it is impossible to avoid using the sharp attack in all cases, it should not be too pronounced or too obvious.

Scooping and slurring

Sliding from one note to another. Oftentimes due to poor musicianship or uncertainty in changing from one pitch to another. More often a manner­ism.

Use staccato exercises arpeggio fashion up and down, to establish a clear cut enunciation of the vowel sounds. Follow each staccato exercise with a legato exercise.

Dropping final consonants

Carelessness.

Use tape recorder to show student his sins of omission.

Final consonants not clear and accurate

May be the result of placing more emphasis on the enunciation of the vowel sounds, and neglecting a clear and accurate articulation of the con­sonants.

Use tape recorder so that student may hear.

Cutting ends of phrases short

Usually due to lack of poise, and fear that there isn't time to hold the phrase endings longer.

To avoid breaking the rhythm of a song, it is possible to hold note on which the phrase ends a little longer, and shorten the next note.

Register changes too obvious

This is due to making the covering or closing process too abrupt. A sudden change from an open position of the mouth and lips to a closed position may bring this about, particularly in making a change to the oo vowel sound,

The best approach to evening out the registers is through the even scale. This can be established by vocalization, using open vowel sounds, prefer­ably ay and oh, sung softly, arpeggio fashion. The same mouth opening should be maintained, and the mechanism allowed to make its own adjust­ments.   See Lesson Plans Nos. 14 and 15.

Gasping for breath

Due either to an insufficient breath supply because of shallow breathing, or poor breath control of what was inhaled. May also be the result of ner­vousness.

See Lesson Plans Nos. 19, 20 and 21. Use staccato practice where a minimum amount of breath is used, followed by legato practice.

Lack of intensity of tone

Due to fear of oversinging or forcing the voice, or standing out above other singers.

Intensity of tone is dependent on the proper co-ordination of a strong pressure flow of the breath with strong pharyngeal enunciation of the vowel sounds. When properly co-ordinated, the throat feels as if it were relaxed. See Lesson Plans Nos. 20, 21, and 23.

Noisy inhalation

Caused by mouth not being opened wide enough and tongue not relaxed. Open mouth wider and relax tongue on inhalation; or breathe through mouth and nose.

Grunting on finish of phrase

May be an unconscious mannerism or an imitation of a famous singer. Can be useful in finishing a high note, but should not be overdone. Use tape recording to have student hear effect.

Poor Posture

Due to carelessness, habit, or lack of training.

See Lesson Plan No. 2, and Techniques and Suggestions on Posture.

Head (chin) turned up, or looking up

Usually an unconscious reaction to singing high notes.

Move head from side to side and up and down until an easy relaxed po­sition is obtained. Do not look up for high notes as then the audience will see only the whites of your eyes.

Head (chin) pulled down

An attempt to establish a stronger tone quality in the lower voice. This is the opposite of what most teachers suggest: When you sing low, think high; when you sing high, think low.

Hands held together in back of body

Usually a carryover from choral singing to make hands inconspicuous. Tends to throw body out of the proper position for easy relaxed breathing.

Hands should be at sides, or the back of one hand in the palm of the other just above the waist line, or one hand at one's side, the other held in front just above the waist line.

Raising shoulders on inhalation

The natural approach to inhaling a deep breath. A carryover from the old saying used in gymnasium calesthenics: "Fill up your chest and suck in your mid-section." See Lesson Plan No. 20, and Techniques and Suggestions under Breathing.

Blank Expression

Fear of looking foolish or lack of interpretative talent.

Song texts should be read carefully to discover real meaning or mood of song. The face should reflect in some way the message the song was in­tended to convey. Students should work in front of a mirror to improve their facial interpretations.

Singing with eyes closed

A means of shutting out the audience in the presentation of subjective song material. Acts as a distraction, however, to the listeners, who be­come more interested in how long the singer will continue with his eyes closed, rather than in the message of the song.

See chapter on Interpretation: when to look at the audience, and when to look over their heads.

Grinning smile

Usually an imitation of some favorite singer, or the result of previous training, or a feeling that one should look pleasant when singing.

Not necessarily wrong unless overdone. Not conducive to good tone production, or applicable in all types of song literature.

Mugging

This is a form of overemphasis in facial expression, and apt to become ludicrous.   Its place is in comedy.

The mirror technique should be used to help student temper down his overemphasis, and letting him see for himself.

Wrinkled forehead

Usually an unconscious habit or mannerism, reflecting a lack of balanc­ed co-ordination between the processes of breathing, phonation, articulation and resonation.

Use staccato exercises followed by legato exercises on octave arpeggios to get balance between enunciation and pressure flow of the breath. Have student observe himself in mirror to see if he can analyze why he wrinkles his brow.

Raising eyebrows

Usually goes with wrinkling of forehead. A reflection of trying to avoid undue tension or changes in registration. There are times when either raising the eyebrows or wrinkling the forehead can be considered as part of the facial interpretation of a song.

Obvious nose breathing

Comparatively few teachers advocate nose breathing for singing. Re­gardless of whether the student breathes through his nose, or through his mouth, or through both nose and mouth, his breathing should not be obvious.

Retracted tongue position

Due to weakness in the tongue musculature or lack of balanced co-ordin­ation between the pressure flow of the breath and the pharyngeal enunciation of the vowel sounds.

See Lesson Plan No. 8 for exercises to develop flexibility of the tongue. See Lesson Plan No. 10 for attacks. Practice extending and retracting the tongue rapidly, and then change to movements from side to side. See Les­son Plan No. 20 on doing the work of singing below the breastbone and above the waistline.

Protruding jaw

Either a conscious or unconscious attempt to free the jaw. Tends to establish an unnatural position of the lower jaw with undesirable tensions and stiffness.

Place thumb and forefinger at sides of mouth and press in to relax low­er jaw. Move jaw from side to side and up and down, to establish the "float­ing" lower jaw.

Singing out of one side of the mouth

A device which gives the singer a feeling of security through tension; or it may be the result of overdeveloped chewing muscles on one side of the mouth.

Place thumb and forefinger at corners of the mouth and press in equally strong on both sides to open the mouth in a basic open bell-like or open square position of the lips. This should not be a fixed set position when singing, but should be a flexible one. See Lesson Plan No. 6 on Lip Positions, and Les­son Plan No. 7 on Enunciation.

Bulging neck muscles

Too much tension in the neck and jaw muscles.

Lack of balanced co-ordination of pressure flow of the breath and pharyn-geal enunciation. Establish deep breathing and breath support below the breastbone and above the waistline. Use procedure in Lesson Plans Nos. 19, 20 and 21. Establish normal "nasal" resonance quality, with "floating" lower jaw. Lesson Plans Nos. 3, 4, and 5. Use procedure in Lesson Plan No. 6 to establish a flexible enunciation of the vowel sounds. Avoid singing full voice until error is under control.

High Larynx position

Reflects nasality and weak pharyngeal enunciation.

Sing octave portamentos, using open vowel sounds ah, oh, or ay, with a wide opening of the mouth and lips to establish a stronger pharyngeal enun­ciation. Use yawning technique to raise soft palate and block off nasal pas­sages. Use a stronger breath support. Alternate humming and singing "boo" to teach the student how to direct the breath stream more to the mouth.

A flexible middle position of the larynx should be considered the normal position of the larynx in the production of the normal resonance quality. This is not to be considered as a set, fixed or held position, but a flexible one which will vary with changes in quality for interpretative effects.

Low Larynx position

Reflects muffled or gutteral tone quality. Usually an attempt on the part of the singer to sing a big, round tone. Lacking in brilliance and carry­ing power.   Diction not clear.

Establish normal "nasal" resonance quality. See Lesson Plans Nos. 3, 4, and 5. Establish balance between pharyngeal enunciation of the vowel sounds and the pressure flow of the breath, using staccato exercises with the bright vowels ee and ay followed by legato exercises.

Flushed (red) face

Caused by trying to force the voice beyond what it can do technically. Usually due to a lack of the proper registration, or trying to sing too loudly without the proper co-ordination.

Check the four fundamentals that each student of singing should know and be able to do: sing in his normal quality, sing pharyngeally, sing the correct registration, and sing with the proper breath supply and breath sup­port.

Obvious Nervousness

Usually the result of a fear complex that the voice will not respond, or that one's memory will fail, or that there hasn't been sufficient preparation,

Nervousness maybe looked upon as a necessary evil in all types of per­formance. Practically all performers suffer from it, some more acutely than others. If looked upon as an aid instead of a hindrance, it keys the per­former up to do a better performance. Regardless of the extent of his nerv­ousness , the performer should not make it obvious.

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