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'Cord Closure' - Glottal Compression - Pressed Phonation - Flow Phonation
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- Опубликовано: 13 окт 2017
- I think there is some confusion out there about what glottal compression and 'cord closure' mean, and certainly some misapplication of the concepts. In today's video, I explain what glottal compression means and talk about pressed phonation, breathy phonation, and flow phonation. It's all about finding balance.
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karyn@singwise.com
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Oh MY GOD this is so eye-opening. THANK YOU a trillion times
What i learnt from these learning years singing is learning to control airflow through your vocal cords create sound you desire.
Absolutely! I always say that in between the (less healthy) extremes, there's a fair bit of wiggle room that we can take advantage of for artistic purposes. We'll use higher or lower close quotients (the amount of time during each vibratory cycle of the vocal folds that they folds are making contact with each other) - which amounts to more or less effort at the glottal level and results in higher or lower subglottal pressures, respectively - depending on the task and the sound that we're aiming for. Most of us tend to mix things up a little, as artists should. So good having you visit this channel!
totally agree with this - after a while of training, you really don't need to "press" your cords together to get them to aduct. I have done this myself and my sound became very pinched, twangy and "laser-like" to the point where I have had to retrain myself to address this imbalance.
Yes! I think that the only time that it needs to be addressed is in cases where students are on either one of those extremes (hyperfuncational or hypofuncational). And even then, we teachers must tread delicately in how we train better balance in our students. I've come to realize that the language that we use in describing this better balance, especially for the breathy singer who lacks sufficient vocal effort, is important. If we're' not careful, it can make matters worse, as the student may overcompensate and go to the opposite extreme.
Totally agree
I totally agree Karyn. Some songs could have you engaging numerous compression levels when singing just one verse or just one line.
Yes!
no need to worry about contributing to the confusion....simply because there is no way to avoid it! lol Since we are talking about a complex balancing act of cord closure, air pressure, physical manipulation (squeezing, pushing this or that, holding back etc), feedback sensations etc...there will always be some "confusion" because people have different approaches and also they have different sensations about those approaches. Two singers can be DOING the exact same thing yet feel and describe them in totally different ways
So true! Great points.
Great information. Thank you Karyn, hope you're doing well!
Thank you so much, this was very well explained. Can't wait to take notes on it.
Thank you for commenting!
I have a complex relationship with cord closure. I honestly think that way too often we are obsessed with being "correct" that we end-game ourself out of the process. I think 90% of students that have come to be were hypo-function singers. Very few come into the studio with actual pressed tone. There is also a third category I find which I call "compressed" meaning that the voice is strained, but the cord closure is actually poor (I think other may call this "entangled"). In this set-up, the throat/jaw/tongue all try to do the work that the vocal folds need to be doing - usually people who sing like this have a degree of muscle tension dysphonia. Because most students seem to start with poor closure, most of them will need to allow the pendulum swing to pressed phonation before swinging to the center. And this is why one should always have a teacher or trusted set of ears on them to say "hey overachiever, time to change approaches!". And it's also why reading tips online (or advice from a choir teacher...anybody talking about technique in a general sense) can be wrong for a student at that moment.
Absolutely! Very good points.
I over blow so much. It’s so difficult for me to not push and squeeeze out air and therefore not hit higher notes (unless I push)
How can we assess whether we are in the correct zone? Is it by sound or feeling? If feeling, then what is the feeling? Since i was told i was too breathy, i've been working on cord closure. Sometimes I can feel like there's a lot of pressure in my body wanting to come out but the sound i'm producing doesn't sound pressed - but from your video you seemed to be suggesting that feeling that sort of sensation means you're probably applying too much effort at closure and not allowing enough air to pass the folds.
Best lesson ever
Thank you!
Ma'am how harmonics are produced by vocal folds simultaneously
Where
Any body vibrates at one particular frequency
Hi Karyn. I think this is one of my major problems with my singing. I think this may be the very thing that is leading to all the tension issues i feel in my throat, neck, and singing voice. I've had a brief browse through your archives but didn't see any lesson on 'glottal compression', though I'm sure you'd have covered it. I'll have another look tomorrow as its very late here in Sydney at the moment. Hopefully this 'glottal compression' leads me in the right direction in freeing up my voice. Thanks Karyn.
glottal compression is almost like a preservation of singing energy and is meant to sing with more power usually. It's similar to fry but is only for clean vocals.
Can you please do a video on Open and Closed Quotient (what it means, how it works, etc.)?
I've always usually stuck to singing quite heavily in my 'safe, chest' notes, i'm trying to grasp getting the closure on the notes leading into my head register, that weird mix area, it seems wherever i place the notes i can hear maybe a slight closure but also what i can only describe as a buzzy/crackly/kazoo sort of sound along with it?! i'm trying to work out if i'm doing it right and this is how it starts when the muscles are weak or if i've got it completely wrong and it should sound crisp from the start?! it's not hurting in anyway and it sounds like a blend of nasal and mouth resonance...but just really unclean and messy!... i know its probably hard to give any advice without actually hearing it but just wondered if other people have ever said similar? Thank you for your videos xxx
I think I know what sound you're describing. It's really common to hear those kinds of sounds in the register transition area. Try doing some work with scales using semi-occluded phonations (humming, sustained /v/ or /z/, phonating into a straw, etc.). Let me know what happens in that same pitch area after you've spent some time working on these.
Apparently I've been doing this. But I need to hear a better example of what it sounds like. Yes with my first teacher I had fix my airy falsetto voice. Just when I thought I was doing well with that, and well moved on to a different teacher, I'm finding that I'm being told that my using too much squeeze, when I thought I was singing with thicker folds and I dont feel like only I'm squeezing anything really. I had wanted to sing with thicker folds but now I'm being instructed to sing with falsetto again. I think the thicker folds might give a more unique sound rather sounding all the same.
I have developed a pressed sound, as evidenced by an effortful twang which makes the tone thin and harsh. What kind of exercise would you recommend doing to reduce that? I was thinking "KEY" or "COO" across the problem notes, as there is not as much compression on the K consonant as there is on G (GEE/GOO).
Those 'coo' exercises can be helpful. For pressed singers, I don't usually use 'key' because the EE vowel can be too tense. With many of my students with pressed phonation, I'll use the Vennard imaginary H exercise. It's not always ideal to add air to the sound, but I don't use it for a long time. I discussed this in a previous video (ruclips.net/video/q1JncWeaseA/видео.html), starting at 8:36. Exercises using semi-occluded sounds (e.g., humming, SH, S, Z, V, lip bubbles, tongue trills, etc.) can also be beneficial for finding the right balance of pressures and muscular effort. Keep me posted on your progress and let me know if you have any further questions.
Ever since I can remember, warming up on OO with a tiny straw-sized lip opening has helped. It's how I extended the top of my range from F4 to F5 . EE, IH, AE, and ER all contributed to tenseness over time in the first passaggio. I don't think it's those particular vowels that are to blame for this, but the divergence from warming up on OO before a night of belting, thinking that EE would be a better choice because it's the most adducted and what ENT's ask for when doing a scope.
Definitely agree with not using the H too much- about two years ago, I had the exact opposite problem- a breathy singing voice. If EE fixes airiness, then OO should correct overcompression. :-)
I think you're onto something. It sounds to me like you tried to overcompensate for your breathiness by over compressing the sound. This is a really common result of an imbalanced training focus. Keep warming up with the straws. Another option might be to use vocal fry quality to create a bit more of a slackness in the glottal closure mechanism. Alternate between glottal/vocal fry and clean tones. And keep cross training. Work on the high part of your range, then the low part. Work on M1 and M2. Work on belting and non-belted phonation. Really mix it up so that you never get into any one way of producing your sound.
I'm curious about one other thing... The difference between flageolet and falsetto and whether or not they are actually two different coordinations. Last night, I blew my falsetto (M2) out and had only chest voice to work with. The result was very strained. The funny thing is, it was still possible to sing in low flageolet (M3), and that part of the voice was intact. It's probably not very common, but mine overlaps chest voice and goes almost to C3. Do you think it is a good idea to exercise M3 (even quietly) and try to strengthen it, or would that imbalance things further?
Nice grouping. On the topic of flow phonation could you say something about how you view the concept of feeling the breath support in the lower back. Thanks.
That would be a good video topic.
Im here to see if this can help me not stutter.
HOw, how, how......show us how and stop with all the explanation
You talk a lot without exercises or visual illustration to apply with you
Some of my videos involve more talking about voice science and theory. Others are more focus on the practical.
Here is a video on the same topic that includes a 3-part exercise for glottal compression. I do still talk, but it's only to help explain why we're doing what we're doing and to offer tips for performing the exercise properly: ruclips.net/video/ANRrgR8632w/видео.html