Developing 'Head Resonance'

[Steven Fraser]

Here is an article I wrote for another context. I thought you all would enjoy it.

The current understanding of vocal scientists is that sensations of 'head resonance' or 'mask resonance' are due to the presence of strong high frequency harmonics in the sung tone. The strength of these harmonics comes from a balanced interaction of the phonation and two resonance characteristics of the voice: vowel shaping, and epilaryngeal resonance.

Vowel shaping

Simply said, for each note, there is a particular shade of a vowel that aligns the 2nd vowel resonance with a harmonic. When this alignment happens, the harmonic is greatly strengthened. The voice not only seems clearer, the vowel seems more distinct (has more focus) and the overall projection ability of the voice improves. A side benefit is that the voice becomes more easily produced.

Epilaryngeal Resonance

There is a section of the vocal tract immediately above the larynx called the epilarynx (meaning 'near the larynx'). It is also referred to as the

'aryepiglottic space' This area can be narrowed by muscles which surround it. When the area is narrowed sufficiently, this space becomes a high-frequency resonator, in the frequency region of about 2500 - 4000 cycles per second, varying by individual voice. When this is done in speaking-quality vowels it adds a tone quality described as 'twang' (not nasality) to the tone. In the singing range, it adds "Singer's Formant"

Measurements indicate that adding epilaryngeal resonance to a speaking voice increases total vocal power by about 20dB, that is, more than 8 times louder. The sense of effort reported by users of this technique is less, that is, its easier on the voice. More sound, less effort? Sounds like a good prescription.

These techniques (vowel tuning and epilaryngeal resonance) can be used independently. Many singers, especially in classical singing, use them both.

When these techniques are used, both the overall power and the high-frequency power are increased. This is exactly the combination which can produce strong sensations of vibration in the head. More precisely stated... the bone and space structures of the head are likely to vibrate in sympathy with the strong harmonics, whether or not the singer can 'feel' them. There is likely to be a strong sense by the singer that the tone is 'placed' somewhere in the head. For those that have these sensations, they are a valuable biofeed-back to the singer, telling them about the efficiency of their phonation and resonance.

So, for the singer who wants to 'sing in the mask', or have 'head resonance'. I'd rephrase the goal to be 'Sing with a technique that causes mask sensations to occur', or 'sing with formant-tuned vowels and singers's formant.'

To accomplish this, IMO the singer should do these things:

1) develop balanced phonation. This puts the breath energy, adduction and registration into a relationship that can work over many pitch ranges and dynamic levels.

2) Add epilaryngeal resonance ('twang' or 'singers formant'). This increases the efficiency, and reduces the overall laryngeal effort.

3) Use vowel shades that align vowel resonances with the harmonics of the sung tone. This improves the beauty and clarity of the vowel.

Many approaches can be used to accomplish these objectives. What are your favorites?

[ronws]

I totally dig this explanation. I can visualize what you say because it describes what I feel, at least through all of my chest voice. And when someone has asked how I do a certain thing or hit a certain note, I wished I could have had this explanation, which may or may not have fallen on deaf ears. Often, all I can do is tell of the mental images I use which are not always accurate, even if they result in exactly what you said. It's either that or, when asked, "Man, how do you do that?" I can only say, "Like this" and do it, which only adds mystery.

And, for example, even if this is what happens through out the range, I still envision the resonating space for mixed somewhere in the throat between chest and and head. And head being behind the sinus cavity. Whether that is accurate or not. I do believe in the harmonic convergence thing and it is why I think some voices do better on some songs than others.

[VideoHere]

Here is an article I wrote for another context. I thought you all would enjoy it.

The current understanding of vocal scientists is that sensations of 'head resonance' or 'mask resonance' are due to the presence of strong high frequency harmonics in the sung tone. The strength of these harmonics comes from a balanced interaction of the phonation and two resonance characteristics of the voice: vowel shaping, and epilaryngeal resonance.

Vowel shaping

Simply said, for each note, there is a particular shade of a vowel that aligns the 2nd vowel resonance with a harmonic. When this alignment happens, the harmonic is greatly strengthened. The voice not only seems clearer, the vowel seems more distinct (has more focus) and the overall projection ability of the voice improves. A side benefit is that the voice becomes more easily produced.

Epilaryngeal Resonance

There is a section of the vocal tract immediately above the larynx called the epilarynx (meaning 'near the larynx'). It is also referred to as the

'aryepiglottic space' This area can be narrowed by muscles which surround it. When the area is narrowed sufficiently, this space becomes a high-frequency resonator, in the frequency region of about 2500 - 4000 cycles per second, varying by individual voice. When this is done in speaking-quality vowels it adds a tone quality described as 'twang' (not nasality) to the tone. In the singing range, it adds "Singer's Formant"

Measurements indicate that adding epilaryngeal resonance to a speaking voice increases total vocal power by about 20dB, that is, more than 8 times louder. The sense of effort reported by users of this technique is less, that is, its easier on the voice. More sound, less effort? Sounds like a good prescription.

These techniques (vowel tuning and epilaryngeal resonance) can be used independently. Many singers, especially in classical singing, use them both.

When these techniques are used, both the overall power and the high-frequency power are increased. This is exactly the combination which can produce strong sensations of vibration in the head. More precisely stated... the bone and space structures of the head are likely to vibrate in sympathy with the strong harmonics, whether or not the singer can 'feel' them. There is likely to be a strong sense by the singer that the tone is 'placed' somewhere in the head. For those that have these sensations, they are a valuable biofeed-back to the singer, telling them about the efficiency of their phonation and resonance.

So, for the singer who wants to 'sing in the mask', or have 'head resonance'. I'd rephrase the goal to be 'Sing with a technique that causes mask sensations to occur', or 'sing with formant-tuned vowels and singers's formant.'

To accomplish this, IMO the singer should do these things:

1) develop balanced phonation. This puts the breath energy, adduction and registration into a relationship that can work over many pitch ranges and dynamic levels.

2) Add epilaryngeal resonance ('twang' or 'singers formant'). This increases the efficiency, and reduces the overall laryngeal effort.

3) Use vowel shades that align vowel resonances with the harmonics of the sung tone. This improves the beauty and clarity of the vowel.

Many approaches can be used to accomplish these objectives. What are your favorites?

steve, correct me if i'm wrong, but vocalists that employ rather obvious "epilaryngeal resonance" (a.k.a. "twang") i believe would be guys like jon bon jovi, axl rose, freddie mercury, and robert plant?

what i think of to promote a twang in my vocals is my "paul lynde" analogy. actor paul lynde talked in twang mode, and if go from imitating him and transition to a vocal you can grab hold of it quite quickly. it really can brighten up a note, so that it just cuts right through.....twang really makes a nice more treble sound. here's a clip i found of him singing and you can hear the "cut" to the sound

http://www.youtube.com/watch?v=KnS4SMh4wBA

[gno]

Steven - That is great info - thanks for posting it. I can feel it when things work correctly, although I don't exactly know what I'm doing to acheive it. If I'm hitting a note but the resonance isn't happening my "informal" way of trying to correct things is to try again with less tension, and letting the muscles, breath, vocal track shape "find" a better balance. This method is not as efficient as have a teacher hearing the problem and telling me what to do. These concepts are hard to understand but I've already learned a great deal from your posts. Keep them coming!

Geno

[classical guitar]

One thing that gets me twanging is doing lip bubbles in a real light falsetto, but taking in a full breath and running scales for about 40-45 seconds before i take another breath. Don't know why, but this works for me really well.