Throat Strain In Singers – Tips – Sewing Machines Los Angeles

One of the most pressing concerns of a vocalist is that of a strained or tight throat. This can result in poor vocal quality, rapid vocal fatigue, and more importantly, damage to the vocal apparatus. Here are some tips to open and relax the throat, no matter how low, high, loud or long the note you have to sing.

The problem comes when we erroneously believe that we must “project” the sound of our voices onto our audience. Think about it… an acoustic guitar doesn’t have a little motor inside it, propelling the sound out, does it? Its sound comes from sound waves that are set in motion inside the body of the guitar by the strings vibrating the wood of the instrument. There is a hole in the guitar, and so this is where the soundwaves escape.

In the same way, vocal sound should come from soundwaves set in motion by the vibrating vocal cords, which transfer the soundwaves to the cartilages of the larynx, which then magnify and send the soundwaves upwards through resonating spaces and tissues of the mouth, throat, sinuses, bones, and some say even down to the trachea. Then, the mouth opens and the magnified soundwaves escape.

If the throat is tight, the soundwaves won’t reach deep into the resonating spaces, therefore seriously effecting the quality of vocal sound. It also affects the upper and lower notes, which must resonate in different areas. Only an open, relaxed throat can allow the subtle changes that must take place for accurate pitch, optimum vocal range, and best blend in middle voice. This is where the singer usually starts to “push” the voice to accomplish the vocal chore necessary, and then the small throat channels get even tighter. Then a downward spiral of truly awful vocal habits is set in motion. What can you do? Did you even know it truly is possible for you to sing without the strain to which you’ve become accustomed?

First, let’s define “the throat”: Let’s call it the top back of your nasal membrane where the Eustation tubes open, the back of your mouth and the top of your trachea. Trace it by doing this little exercise which I call the 6-way inside stretch:

Touch these parts of your head with your fingertips (so your brain connects with the areas) and expand each one as you read the words:

* Eyes

* Nose

* Jaw (drop open)

* Both Ears (pull both ears towards the ceiling above and behind you)

* Scalp (about where a baseball cap would cover)

* Now try stretching all 6 areas at once (you’re face should look a bit crazy)

As you are stretching these places, you may begin to yawn.

Now try pulling a word… try using the word “One”. Grab the word by your upper teeth and say it in such a way that the 6-way inside stretch occurs. Try this slowly speaking (pulling) these words “Should…Old…Aquain…tance…Be…For-Got…And…Ne-ver…Brought…To…Mind…”

Now try doing it faster.

Now try singing the melody this way- still pulling words and dropping your throat open. Sing faster. Now that you’re laughing… know that you don’t exactly have to be this crazy on stage or with friends… BUT… Do try to retain a bit of this animation and try singing it for real.

There are many vocal exercises and vocal training methods. There is a great imagery first created by voice teacher Jeffrey Allen: a “path” your voice should take from your pelvic floor, to the balcony above and behind you, then on to the audience. In “Power, Path & Performance vocal training”, I teach vocalists to pull their voices along this path. Whatever technique you practice, be sure that you practice CORRECTLY. Learn the secret of pulling words through your resonation zones, instead of pushing them onto your audience. They will thank you, and your voice will thank you, too.