Sing With Freedom Lesson 3

© Per Bristow – www.TheSingingZone.com
 
  

SING WITH FREEDOM

by Per Bristow
Bristow Voice Method

Lesson 3

Welcome to lesson #3 of the Sing With Freedom voice training program!  

How To Increase Vocal Range

Today is about developing the range of your voice. As usual, make sure you watch the video first before
you read this. Now that you have watched the video, let’s review what you have learned. First, we’ll get
a deeper understanding of a few things in regards to the voice and vocal range especially.

Lesson 3:

The Anatomy of Vocal Range

The point of this anatomy lesson is not to provide a complete academic understanding of the anatomy
involved in producing sound, but to appreciate the exceptionally complex process involved. It really is
rather magical.

The larynx itself needs to be able to move in several directions. It moves up when swallowing. It can
move downwards significantly, such as when you yawn, and it can even move forwards when, for
example, a bolus of food enters the esophagus. Therefore, the framework of the larynx is mostly
made out of cartilage rather than rigid bone. The only bone close to it is the hyoid bone, which is the
only bone in your body that does not articulate with another bone.

The three main cartilages are the thyroid cartilage, cricoid cartilage and a pair of arytenoid
cartilages. They are interconnected with each other and the hyoid bone by ligaments, membranes,
muscles, and, of course, blood vessels, nerves, skin and other soft tissues. (The protrusion of the
thyroid cartilage is what is referred to as the Adam's apple in men.)

Sing With Freedom Lesson 3

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The five main muscles responsible for the action of the vocal cords are also known as the intrinsic
muscles:

• The Thyroarytenoid muscle - shortens and thickens the vocal cords

• The Cricothyroid muscle - lengthens the vocal cords
• The Lateral Cricoarytenoid muscle (paired) - adducts ("connects") the vocal cords
• The Posterior Cricoarytenoid muscle - abducts the vocal cords
• The Interarytenoid Muscle - also serves to adduct the vocal cords

They have been given their names based on which cartilages they attach to.

Surrounding the larynx are the extrinsic muscles:

The Sternohyoid, the strenothyroid, the omohyoid, the thyrohyoid, the stylohyoid, the anterior and
posterior diagastric, the geniohyoid, the hyoglossus, the mulohyoid muscle…

…and we can go on until we get dizzy by naming all the muscles further away.

The point is not to learn names of muscles, or to learn exactly what each one does (they will act
differently depending on the condition of the muscles). The point is to appreciate what a phenomenal
instrument we have and realize that we can, indeed, improve the coordination of these fine muscles
inside - IF we let them.

In the video I mentioned that a muscle moves in one direction, and that was to illustrate the fact that
more than one muscle is involved in any back and forth movement and in every instance of making
sound. The truth is, however, that a muscle doesn't really “move” in a direction. It just contracts
(shortens) and then relaxes. When it contracts it moves whatever is attached to it, and that
movement is in one direction only. (Although, there is a certain recoil effect that we also take
advantage of.)

In order for a muscle to function effectively it also needs to be able to relax. A tense muscle becomes
a short muscle, which becomes a weak muscle. In lesson #1 we became familiar with the adduction
and abduction of the vocal cords. Today, as we have worked on range, we have activated the ability
for the vocal cords to “change shape” in order to vibrate at different speed (different frequencies).

Sing With Freedom Lesson 3

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You have understood that one of the major keys to range is:

Mobility

• Mobility of the intrinsic muscles;

• Mobility of the cartilages;
• Mobility of the membranes;
• Mobility of muscles involved in breathing (lesson 4);
• And let's not forget, mobility of that stubborn fear-based need to control.

You have learned that it is the effortless and fearless sliding that sets the stage for rapidly
strengthening and coordinating the balance between the intrinsic muscles groups, as well as releasing
tension of the surrounding muscles.

From the previous two sessions you have become familiar with the sensation of connecting the vocal
cords with less and less effort. Therefore, you can now effectively engage the muscles that stretch and
shorten the vocal cords. From day one, we have encouraged movement and freedom. We have
fostered a mindset of allowing things to happen rather than forcing things to happen.

You have worked on activating the vocal cords with less and less involvement of the “compensatory
muscles”. You can now set the cords in motion with less force and pressure and without holding back.
(By focusing on the inhale from last week, you also developed an ability to open the cords wider than
normal.)

When the voice "breaks"

Realize that the crackly "break" sound doesn't necessarily happen only in that area of a "register
change". It might also happen for other reasons. We don’t need to know the exact anatomical
explanation for the break. We just want to realize that for some reason there is an interruption of the
vibration - the cords "slip".

Often there is an instant of breathiness when the cords "slip" and could be due to lack of coordination
between the different muscles, lack of strength, too much surrounding tension, lack of mobility of the
cartilages, etc., etc.

Sometimes when we move and go for looseness, the crack happens because tension is let go.
Therefore the cords slip from the sheer surprise of the "helping" muscles suddenly not helping
anymore. That kind of “crack” is therefore something we should welcome.

Unfortunately, people are so conditioned to fear this “break” and therefore they have been trained to
do everything to avoid it. They spend years and decades trying to cover it up and avoid it by engaging
compensatory muscles. As a result, they never develop the muscle action and flexibility that is
needed.

Does the sound of the “break” hurt your voice? Of course not. It's just annoying and embarrassing.
Isn’t it? That crack/break is what has been ridiculed for ages as the mark of someone who can't sing.
It is the very fear of the crackly sound that makes us engage more force or hold back. It is the
resistance to the sound of the break, not the break itself that severely limits your development.

If you sing a scale up and down and your voice "breaks", and your conditioned reaction to it is that the
break happened because you are doing something wrong, what will you automatically try and do? You
will of course try and avoid the break next time.

Sing With Freedom Lesson 3

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We could argue that the fear of the break is instrumental in creating more of the same.

Why not accept, even expect, that there will be one? Why wouldn't there be one? What's wrong with a
child slipping and stumbling once in a while when learning to walk? Why try snowboarding if you're not
going to accept a fall once in a while? Why indeed attempt anything in life?

Realize that even the slightest little "concern" (by all means, let's call it what it is: FEAR) puts us in
"protect mode".

Some things to ponder…

In what other areas of life do you hide, and attempt to control, out of fear of exposing a
weakness?

Are there other areas in your life where the fear of possibly “failing”, or making a ”mistake”
makes you uncomfortable?

Are there areas in your life where you could experiment with the idea of giving yourself
greater permission to “fail” or make “mistakes”?

So what is the solution?

You go into a safe environment, a closed room, where you give yourself a chance to do something
you've never done before - to experiment with your voice and let your voice out freely without
protecting it, without trying to sound good and without trying to hit correct notes, and without trying
to express emotionally.

Since we don’t want to be afraid of the break and engage compensatory muscle because of the fear,
we make the break completely irrelevant and instead focus on other things.

You focus on the other things, such as sliding to the end and truly experiencing the feeling in different
areas of your body. Focus on the relaxation of the tongue, or the movement in your body. Visualize
the elasticity of the vocal cords on a horizontal level. Focus on feeling the looseness of the neck.
Focus on the even exhale (no extra pressure on the high notes), etc.

Yes, this "break" now becomes absolutely irrelevant.

Why singing scales is counterproductive

As you've noticed, to accomplish our task of developing the functionality, strength and coordination of
the intrinsic muscles while releasing other outer muscles, it is completely irrelevant what notes we
might be "singing". You cannot be as focused and aware as you want to be if you're trying to adapt to
a scale. If you try to sing a specific set of notes, your mind will automatically focus on trying to do just
that; to sing those specific notes. Your brain will shift from the kinesthetic awareness to judging the
sound via your auditory sense. Therefore, for our purpose today, trying to sing a series of notes and
evaluating if they are on key (pitch) or not, is not only completely meaningless. It is, in fact,
counterproductive.

How to sing better on key

The beauty here is that being able to sing on key is far more a muscle issue than an ear issue,

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although ear training is certainly very valuable – which is why we engage in ear training separately (in
the ear training course inside The Singing Zone member’s area).

Beginners who sing off key are often experts at knowing that they are off (the judgmental tendency is
always part of the problem). Others are less aware but both categories are off because...

1) There is too much tension that hinders free vibration - i.e., the vocal cords can't possibly vibrate at
an even frequency and, therefore, the pitch wavers (and the voice cracks).

2) There is lack of range, so when the melody changes the voice won't - i.e., the singer stays in the
comfort zone and can't change with the range. The voice is stuck.

Therefore, through what we are doing here this week you will actually become much better at singing
on pitch, even though you are not focusing on whether you are on pitch or not. In fact, you will
become better at singing on pitch because you are not focusing on the pitch right now. (You are
working on the ear training sessions though.

This will all become clearer in upcoming sessions as you will notice that you sing better on key than
you ever have.

 Some reminders of physical points of focus while you are doing the
exercises illustrated in the video…

Lip trills - Lift your cheeks to make it easier. Make a very light sound. Feel the
elasticity of the vocal cords, without engaging other muscles or abdominal pressure.

"Tongue flaps" – How fast can you do it? Does the tongue become tenser when the
range changes? Have fun. No inhibitions here - just let it go.

The "ng" sound – Can you keep it as relaxed when the range changes?

Stick your tongue out holding it with your teeth. Does the tongue want to pull
back with range change, or can the root of the tongue still be passive?

Aaaaaaaaooooooooaaaaaaaah - Make a whistling shaped mouth on the oooo.

What does the tongue do?

Sing Aaaaah opening your jaw with your fist. What do the jaw muscles do with
range change? Do the jaw muscles want to resist the hand? Do the jaw muscles want
to engage just because of range? What does the tongue do?

Say Eee (as in "bee") while pressing a couple of fingers under your chin - Can
you say Eeeee without that muscle under your chin contracting? In all likelihood you
felt those muscles contract during the video lesson. It is true that when that muscle
does not contract you will likely have a seamless range. However, being able to isolate
muscles to the point that this muscle does not contract is an advanced developed skill.
It takes time to be able to isolate these muscles, so don't get frustrated! What sound
will come out if that muscle does not engage? Will the voice crack more? If so, then let
it. Remember that we rather want to work on the muscles than trying to protect the
“break”.

Sing With Freedom Lesson 3

© Per Bristow – www.TheSingingZone.com
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*The key to rapid development is not only what you do, but how you do it.

Some reminders…

 Slide Through the Range

We would normally call it sliding up and down, but you know now that there is no “up” or “down”.
(The words "up" and "down", "high" and "low", are still valid to express notes from a musical point of
view.)

 Always Come Back “Down”

Return the vocal cords to their original position. By doing so, you work the muscles that stretch and
shorten the cords in a coordinated fashion.

 Start Connected and End Connected

Strive for the end of the slide to have the same quality as the beginning, whatever might happen in
the middle.

 Quick Slides

No jumping, no sense of rushing, no concern of what might happen in the middle, just smooth and...

 Aim For the End

Trick your mind to stop focusing on the high note by aiming for the end. Even let the pitch drop
further to get a sense of follow-through.

By sliding up and down, you are effectively and rapidly developing the fine coordination between all
the muscles. One reason we do it fast is so that your mind doesn’t have time to judge or anticipate,
and therefore the extrinsic muscles don't get a chance to interfere as much.

You don’t have time to adjust, try to “place” the sound, or manipulate register changes. You just do in
the moment, and you do with a greater sense of flow and follow-through

As you have noticed, much of this training is not only about training the vocal cords to do their thing.
It is just as much, if not more, about training the “other” (compensatory) muscles to let go - to get
out of the way.

Naturally, the vocal cords are delighted and start adapting rapidly. In addition, you set in motion an
even flow of air and move away from the idea that more air pressure, different mouth position, and
overall effort is needed for the high notes. And this, my friend, builds trust and confidence!

Sing With Freedom Lesson 3

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 A challenge for most people…

As I've already mentioned numerous times, you achieve this effortless flow and this
effective development of the coordination of the intrinsic muscles only if you can give
permission for whatever happens in the middle (i.e. the high note) to happen. If the
voice "breaks", so be it. Don't jump over that "break" to try and avoid it. Don't
squeeze or push through it. Don't try to manipulate the position of things inside your
throat. Don't manipulate the resonance or the placement of the sound. Don't push
harder with your stomach in the middle. Don't open the jaw more etc.

Just sliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiide through it.

And most importantly: Don't get frustrated just because you realize that there are things you cannot
do yet. Embrace and notice what you can do. Become aware of discoveries and acknowledge
improvements, however small they might be. Every experience is a positive experience.

Your improvements are in direct proportion to your willingness to engage in the process of discovery.

Have fun!

I'll see you in lesson 4,

Per  

Sing With Freedom Lesson 3

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