What are resonators in vocals? Voice resonators. Chest resonator? Methodological techniques for directing sound into resonators
Head and chest resonators and their role in voice production. Types of resonators. Concept of high vocal position.
Terms chest And head resonators widely used in vocal pedagogy. The voice registers – head and chest – get their name from the sensation of sound resonating in the head and chest.
Head resonators - these are cavities above the palatine vault, in the facial part of the head (nasal cavities, nasopharynx, paranasal sinuses - all of them are not able to change their volume, only the nasopharynx, due to the mobility of the soft palate, can change its volume and have varying degrees of communication with the pharyngeal cavity) . They resonate when the original sound coming out of the larynx contains many high overtones (a pronounced high singing formant - VPF). As mentioned in the previous chapter, a high formant gives the voice brightness, shine, “metallicity” and flight of sound. The metallic luster of the voice does not depend on the resonance of the upper resonators (these cavities themselves do not affect the original timbre), the upper resonator only responds to the correct reproduction of the voice.
VPF(high singing formant) is an important quality of the singing voice,
on which its sonority depends. It is characterized by a group of high, strongly pronounced overtones with a frequency of 2500 – 3000 Hz (in adult singers). A voice deprived of HMF sounds dull and loses all density.
The nose and its accessory cavities (sinuses) are air-filled spaces of a very small volume. The largest adnexal cavity of the nose - the maxillary or maxillary - has dimensions of the order 3 cm in diameter Consequently, these cavities can resonate to the high overtones of the voice sound. Tube length 3 cm, open at one end, resonates at a frequency of about 3000 Hz, i.e., to the area of high singing formant. Thus, resonance phenomena in the facial part can arise and will be strongly expressed when the timbre of the singing sound passing through the extension tube, through the cavities of the oropharyngeal canal, contains many high-frequency overtones. The paranasal cavities “respond” to these overtones. The sound of the singing voice, passing through the oropharyngeal canal, decreases in strength, since most of its energy is transferred to the walls of the cavities, where it is gradually extinguished. Through hard tissues, sound energy, of course, reaches the accessory cavities of the nose. By shaking them, it causes the air located there to “swing in time,” i.e., the phenomenon of resonance. Sound does not enter the nasal cavity directly through the airways, much less into its accessory cavities. As is known, pure vowels of the Russian language are usually pronounced when the soft palate completely blocks the passage to the nasopharynx. If the palatal curtain is not raised well, the voice takes on a nasal tint - nasality. Thus, a good singing sound requires either complete blocking of the passage to the nose by the soft palate, or a completely insignificant communication.
X-rays taken of professional singers while singing show that the soft palate, as a rule, is pressed tightly against the back wall of the pharynx, i.e., the oral and nasopharyngeal cavities are almost completely separated. In addition, through the airways, that is, directly, the singing sound does not reach the accessory cavities of the nose, because the exits from them are narrow and clogged with mucus, but gets there by shaking the soft and bone tissues of the face. This shaking can be easily felt if you put your hand to your face, head, or back of the neck while singing. The vibrations are felt quite clearly at hand. The existence of resonance of the paranasal cavities and nasal cavities during professional singing phonation can be considered proven; At the same time, the voice has a bright, metallic, flighty character. The listener gets the impression of great sonority, and the singer himself gets the feeling as if the sound is being fed or directed into a “mask”. Many singers are looking for this feeling, because then the voice formation becomes easy, and the sound becomes strong and flying. That is why it is believed that when the sound “hits the resonator,” the voice is formed correctly.
It has now been proven that phenomena occurring in the cavities of the head resonator, shaking the surrounding tissues and causing irritation of a large area of nerve endings, reflexively excite the activity of the laryngeal sphincter. Vibration phenomena in the head resonator are the strongest stimulator of vocal function. From here it is easy to understand why when the sound “hits the head resonator” it is easier and more convenient for the singer to sing.
The head resonator is the most important indicator of the correct singing sound. The closest attention should be paid to the development of resonator sensations in singing students. Not everyone immediately feels them, so many teachers use techniques that induce these sensations. These include: techniques associated with singing on voiced consonants (“mooing” and “moaning”), when the mouth is closed and the sound comes through the nasal passages, which leads to strong shaking of the walls of the cavities of the upper resonator, even when high frequencies are pronounced weak. These techniques help the student understand what feeling should be achieved when singing.
It is also very useful to use the vowel sound in singing And. The formants of this vowel are 400 and 3000 Hz, i.e. in a purely pronounced sound And there is always a group of amplified overtones of the order of 3000 Hz, to which the upper resonator responds. Using a vowel And we can more easily evoke the phenomena of head resonance if we compare this sound with other vowels that do not have high-quality formants in their spectrum.
The voice is considered well-produced when it is “colored with chest and head resonance” throughout the entire range. The voice registers, the head and chest, respectively, get their name from the sensations of sound resonance in the head and chest. Indeed, when singing, quite distinct vibrations arise both in the area of the front part of the head - head resonance, sometimes called the “mask”, and in the chest area. These feelings can be very strong. Thus, with some particularly well-placed notes, singers feel such strong vibrations in the area of the front part of the head that they feel dizzy. Apparently, these sensations and the physical phenomena that cause them play a significant role in singing. Sounding out the voice “in a mask” is one of the indicators of the correct organization of singing sound. However, it should be noted that these sensations, so strongly expressed in the majority of singers, are dim in others, and in some, albeit rare cases, there is no cerebral resonance at all. Thus, although the sensation of head resonance is characteristic of a good sounding singing voice, it is not necessary in all cases. The sensation of head resonance occurs in different areas for different singers. For some, it appears in the area of the face that is covered with a masquerade mask (hence the expression - singing into a “mask”); in others - at the anterior teeth of the upper jaw (Mikisha, Moran); still others feel it in the area of the frontal sinuses (Deisha-Sionitskaya), while others feel it in the area of the crown or hard palate.
The area of greatest vibration is usually not constant throughout the vocal range. Most often, on lower notes, it is felt in front - in the area of the front teeth or the front part of the palatine vault (Moran's point). As the sound increases, the sensations move posteriorly and on the upper notes appear in the area of the crown. These sensations also vary in connection with the technique of sound production.
Chest resonator located in the trachea, bronchi and lungs filled with air. It adds strength, fullness and volume to the voice. Resonation occurs at a low frequency, close to the low singing formant ( NFP). Low formant gives the voice roundness, fullness and softness of sound. Chest resonance is felt when the vocal cords vibrate in greater area and depth.
Chest resonance is diffuse in nature and can be expressed to very different degrees depending on the register, the nature of the voice, and the part of the range.
Chest resonance, i.e. sensations of clearly expressed vibrations in the chest area, accompanies all voice formation over one and a half octaves of the male voice range and in the lower and central parts of the female voice. The resonator in the acoustic sense here can be the trachea and large bronchi - the only air cavities-tubes that are present in the chest. As is known, the lung tissue itself, which makes up the bulk of the lungs, is an elastic spongy tissue and therefore is an excellent sound absorber.
Thus, the trachea, which is about 15 cm long, should resonate at a frequency of approximately 500 Hz It is this frequency that gives the voice roundness, fleshiness, and chesty flavor. However, it is only possible to indicate the place where the low singing formant is formed. Some attribute it to the resonance of the lower part of the throat.
The resonator sensations in the chest are clearly perceived by the singer if he puts his hand to the chest, but are of no use to the listener (as is the case with the head resonator). It should be noted that the trachea and large bronchi are not resonators that have a completely constant volume. With a deep breath, they stretch somewhat in length, and due to the contraction of smooth muscles, they can change the size of the lumen within small limits, i.e., there is a certain possibility of adaptation here. Thus, the chest resonator in this respect is not similar to the head one, where the walls of the cavities are completely stable.
When the head and chest resonators are simultaneously sounded, the vocal folds vibrate in a mixed pattern, which allows you to sing the entire range without feeling a register break, with an even sound. For a singer, chest and head resonance are indicators of the correctness of the singing sound, so the student’s attention should be focused on the sensations of resonance. The more subtly the student differentiates his resonator sensations, the more accurately he will be able to control the operation of the vocal apparatus. You just need to remember that chest and head resonance is a consequence of a correctly organized singing sound.
Therefore, a singer needs to learn to use two resonators simultaneously when singing. If you are carried away only by head or chest resonance, without taking into account other aspects of singing voice formation, the voice may degrade. The preference for head resonance, despite its importance, can gradually lead to a tightening of the voice, to a “narrowed” sound, to a loss of organic sound and the ability to fully convey the emotions and character of the work. The singer begins to sing, as they say, “only with the top”, the sound becomes inferior, and singing becomes difficult. Abuse of chest resonance makes the voice heavy, register transitions become noticeable, upward movement becomes difficult, the voice begins to sway, loses mobility, and detonates. If chest resonance is overused, early tremolation (voice swinging) may begin.
One of the most common “myths” about vocals is a misunderstanding that can be reflected in phrases “direct sound into resonators”, “direct the sound to the hard palate”, “find the point of resonance”, or something like that.
“The legs grow” from such a perception of the resonance process, its awareness at the mental level, in particular, from the erroneous judgment that resonance is a reflection of sound. But, however, you can read about this in the article. I won't repeat myself.
Resonance is indeed one of the cornerstones of vocals, and it can indeed be controlled, it is true, but let's figure out exactly how this can be done.
The interpretation of this phenomenon is given in the article somewhat approximately, so I ask those who know physics well not to worry. This is done only to make it easier for general readers to understand.
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In essence, the meaning of the phenomenon of resonance can be described by a “car” comparison, which is quite understandable and vital. Everyone has probably seen more than once how people push out a car stuck in the snow, mud, or just a pothole. Two, three, four people, in time with the engine, begin to rock the car on command. Once the swing, the second was stronger, the car began to swing with a greater amplitude, the third, fourth... And - hurray! The wheels popped out onto solid ground, she can move on her own!This kind of “swinging”, when in the last “swinging” the amplitude of movement of the car body becomes greatest (which helps to get out of the “ambush”) and is the best illustration of what resonance is.
In this example, with each swing the amplitude became larger, but due to what? Thanks to the coordinated actions of people and the driver, who presses the gas pedal in strict accordance with the rhythm of the movements of the people helping him.
How does this illustrate the resonance that occurs in vocals?
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The “car” in this case becomes a certain frequency of the sound wave. Sound, as you know, is a set of different frequencies. This or that frequency cannot, of course, like a car, get stuck in some area, but under certain conditions it begins to “sway”, like a car being pushed out of a hole, sharply increasing in volume. This process is instantaneous, you can only imagine its passage in your head, slowing it down, like in a movie. It is impossible to see without instruments.
So, when the sound enters the corresponding cavity (pharyngeal, for example, or oral), the sound waves (remember - a set of frequencies) will certainly collide with all the walls of this cavity and be reflected from them - that’s why they are confused with reflection! It really exists, and without it there would be no acoustic resonance, but only reflection occurs FROM EVERYONE IMMEDIATELY cavity walls, it is impossible to determine the area from which sound is reflected more or less, because this does not happen.
And it all depends on the size of this cavity. For some frequencies, when reflected, peaks with peaks and troughs with troughs will exactly add up (after all, waves!), but for others they will not. Otherwise, the peak may even fall onto the trough, and vice versa, and a certain frequency will die out altogether. Waves of a certain frequency also have a certain length, so everything depends on the size of the cavity. Frequencies that are multiples of it in size form standing waves. (See picture)
If the frequency of these waves coincides with the natural frequency of this cavity, then it can sharply, thousands of times, intensify.
It’s as if one car is being rocked by experienced people, moving to the beat, while other cars are being rocked by completely inexperienced people, simply getting in each other’s way, extinguishing the neighbor’s efforts rather than increasing them.
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Thus, in the voice, only a certain frequency (to be more precise, a group of frequencies close to each other in the spectrum) will be amplified in a certain cavity (throat, mouth, nose). And such groups are called FORMANTS.
The voice is a set of formants. There are not so many of them; you can learn more about this from the corresponding article on the site.
However, the important thing here is that it is possible to influence the spectrum of the voice, that is, its timbre, only by controlling the resonators themselves, the cavities that create it. And certainly not by “directing the sound”! It is impossible to “direct” him anywhere, this is discussed in the article “Five Mistakes of Vocal Pedagogy”. And the speed of sound is too high, and air “flows out” from the body during phonation, filling the cavities located above the folds, all at once, and frequency waves are reflected FROM EVERYONE IMMEDIATELY the walls of each cavity!
How do you direct some of the water that is in the riverbed somewhere? Can you give direction with your palm? The river won't even notice it! The only way is to change the course of the river... Surprisingly, this is exactly the method used to control and control the resonance!
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Controlling the resonance process in vocals entirely depends on only one, or rather, two possibilities.
1. You can change the very SHAPE of the resonator-cavity
2. You can connect several resonators together, creating additional conditions for amplifying certain frequencies
Let's start with the second one.
Any person ABOVE With vocal folds, there are three main cavities through which sound passes - pharyngeal, oral, nasal. We cannot exclude the first two from the process, except perhaps by closing our lips... But the nasal cavity can “connect” at our request, due to the opening of the palatine septum. At least we can learn to manage this process.
To the extent that the “door” to the nasal cavity is slightly open, the intensity of CERTAIN formanta! Not all sound! But if you close your mouth and throat, closing your lips, and ENTIRE If you put the sound through your nose, you get nasality in its absolute form! How do we differentiate it? Yes formant! Because not all frequencies will be amplified in the nasal cavity, but only certain ones, and this will give us a nasal voice. Simply because it won't contain OTHERS formant other than nasal.
However, control of the palatal septum is necessary, since the nasal cavity muffles high frequencies, and the voice does not always need a “ring” in the spectrum, the vocalist cannot neglect the opportunity given by nature. It's all about DEGREES inclusion of the nose in the process. Much is nasal, optimal is nasal twang, which has a very positive effect on the timbre, especially in high notes, although everything has its limits... And nasal twang can be excessive. In addition, to obtain it, one nose is not enough, but he talks about this, I will not dwell on the details here.
Another cavity, which is not given to us by nature, can be created artificially by the vocalist. It is located within the larynx itself (after all, it is a short, but tube). If you learn to squeeze a certain sphincter muscle, the apex of the larynx will acquire a certain “constriction”, and you will get a cavity under this constriction, very small. It is precisely this that is the “homeland” of the high singing formant or oral twang, if we consider the terms of modern vocals, and not classics. In this case, oral does not come from the word yell, but from the word oral, that is, mouth.
So the words “connect the resonators” are essentially true, but few can explain to a vocalist who is not burdened with anatomical and acoustic knowledge what this means in reality!
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Well, now – about the first possibility. About changing the very shape of the resonators.
This aspect of tone control will be more important, since you can sing well without using the “plug-in” resonators, the whole question is what to sing. The songs are average, so to speak. Not requiring the vocalist to master masterful methods. These are, of course, the overwhelming majority.
The pharynx and mouth are the only and main cavities that we have been in control of since childhood. It is they who create vowel sounds, consisting of two formants, pharyngeal and oral, and for each vowel these formants are different, although they sound simultaneously. But more precisely about this - not the page “What are formants?”
Researchers, both ours and Western ones, have long been talking about the pharynx and mouth as a single resonator, calling it “oropharyngeal”. Everything there is too interconnected, the walls are too moving, and the presence of language can SO change the shape of the cavity, that we, having only one cavity, albeit a large one, produce with it a gigantic number of different sounds.
What does lowering the larynx do? Throat stretching. What about the famous “building” of a dome from the classics? Changing the shape of the mouth. Inside. Of course, everything is relative. But it is precisely this “configuration” of its main resonator that leads to an academic sound. Moreover, it is in Russia that people commit such practices. The very character of the sound becomes this way, even if it is not strong, like that of opera stars, and not too high or low.
This is resonance control! A smile - the sound is closer, an Adam's apple down - the sound is deeper... Closer, deeper - these are all maxims of perception, because in fact, the frequencies in the spectrum of the voice simply change. Nobody “directs” the sound anywhere, the vocalist changes the shape of the main resonator, that’s all! For example, the notorious vocal yawn lowers the larynx, but at the same time leads to the elevation of the hard palate, rather than the soft one. In general, the sound becomes dull, it does not have sufficient sonority, since under such conditions it is almost impossible to obtain a singing formant.
You can, of course, object. Like, that's what they say about the direction of sound, I MEAN change in shape. But have mercy! Over time, one has long replaced the other! Today all you hear is “direct the sound into the resonators,” as if it could be directed somewhere else besides them! And no one, mind you (with rare exceptions), with these words, tries to explain that by the direction of the sound he means this and that... So you have to answer endless questions on the site...
And why split hairs, even if that’s the case? The conversation about changing shape is much clearer, since, as has already been clarified, the “direction of sound” is absolute nonsense.
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You need to understand, of course, that a good voice is not only resonators. They are, in fact, quite passive structures, although, considering the variety of possibilities of different vocalists, it would be too straightforward to express it that way. However, resonators do not create sound, they “frame” and “shade” it, if we take as a basis just the speech voice that is familiar in life.
What I mean is that resonators cannot affect the primary sound itself. If the voice is clamped, resonators will not eliminate the clamping effect; if it is hoarse or hoarse, resonators will not help correct it, they simply broadcast what they are given.
Learning to control them is not all that is required, but the share of this in vocals is extremely large!
“Put your tongue down!”, "Open your mouth!" , "Smile!"- all these maxims are precisely aimed by the teacher at a single result - a change in the shape of the oral cavity. Namely, it, in combination with other actions, significantly changes the timbre of the voice, giving the sound the coloring necessary at one time or another.
Just think about it! There is no need to look for a “resonating point”; it is enough to find for each sound its own form of the main resonator, and if you know how to connect, then additional ones, although this is not easy, of course. But from the point of view of understanding what needs to be done and with what, it is much clearer!
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Resonance is a physical phenomenon, but it has a lot to do with vocals. Everyone knows that the human voice consists of certain sound vibrations, but how to use voice resonators is not an easy question.
A little theory
The school website invites everyone to take a training course and learn how to control their voice. Vocal art implies not only its strength, but also different ways of producing sound; this is the main indicator of professionalism. Therefore, it is so important to know all the resonators of a person’s voice.
So, let's begin. The air that is drawn into the lungs at the moment of inhalation travels quite a long way: first it enters the larynx, then into the bronchi. And this is where the magic begins! Thanks to muscles that can be tensed or relaxed, the sound as you exhale takes on exactly the color you need! All cavities with air can be called resonators, one way or another influencing the sound.
Upper and lower voice resonators
All our resonators are conventionally divided into two groups: the lower ones - also known as the chest ones - are located below the vocal cords, and the upper ones - respectively, above them. Lower resonators will make the so-called chest sounds, most often low, velvety. High tones will depend on the second group of resonators, and they can also sound very different.
Learning to resonate correctly is an interesting stage for a beginning vocalist. Our teachers have extensive experience necessary for systematic teaching, and in addition, they watch with interest the growth of students and rejoice at their successes. By the way, the beautiful timbre of the voice for which famous singers are famous is the result of proper handling of resonators, and nothing else!
Voice resonators increase its amplitude, which immediately affects the performance of the vocal part: it is known that within one piece the volume can be adjusted from a whisper to the maximum possible levels. Thanks to the ability to resonate correctly, various performance techniques will be useful both in classical vocals and in modern vocal genres.
Exercises for upper resonators
- 1. Inhale through your nose, as powerfully and briefly as possible, and as you exhale (mouth closed) pronounce the sound “mm-mm.”
- 2. Inhale through your nose, and as you exhale try to sing the words “bom”, “house”, “bim”, noticeably lengthening the last sound “m”.
- 3. Take a deep breath with your mouth, and as you exhale, pronounce the syllables in this order: “mi - mii”, “do - dooo”, “mu - muuu” and others.
The general rule for such exercises is to achieve a feeling of slight vibration of the upper lip and larynx. All these exercises are aimed at correcting too dull sound.
Exercises for lower resonators
- 1. Standing straight, take a deep breath and begin to exhale, leaning forward. As you exhale, pronounce “uuu”, “oooh”, “eeee” as long as possible.
- 2. After taking in air in the same way, as you exhale, say the words: “milk”, “bite”, “tururu”.
- 3. While standing, take a breath with your hand on your chest. Try to yawn without opening your mouth, while holding your larynx in the down position for a few seconds. As you exhale, make long sounds “o”, “u”.
The lower (thoracic) resonators include: trachea, bronchi and lungs. Chest resonance is felt as a vibration in the chest area (over one and a half octaves of the male voice, as well as in the lower and central parts of the female). Chest resonators are the largest oscillatory system when singing. They enhance low frequencies, giving the voice volume, velvety and warmth of sound.
Correct thoracic resonance is possible with exceptional freedom and constant volume of the chest, since excessive tension in the muscles of the chest and abdomen, as well as the release of chest volume during breathing, prevent the correct distribution of air.
It is necessary to strive for the simultaneous sound of the head and chest resonators. This helps create a mixed sound and makes it possible to avoid register transitions.
FUNCTIONS OF RESONATORS
In domestic works on the methodology of vocal art, the resonators of the singing apparatus are traditionally assigned the following functions:
1. Phonetic – formation of vowels and consonants.
2. Generator – emission of singing sound.
3. Energy – strengthening the singing sound.
4. Aesthetic – ensuring vibrato, sonority, softness and flight of the voice.
5. Protective – relief from overstrain of the larynx when the required sound volume is achieved.
6. Indicator - singing adjustment of the fidelity of sound production according to vibration indicators.
7. Activating - increasing the tone of the vocal apparatus due to vibration of the resonators.
INTERACTION OF PARTS OF A RESONATOR SYSTEM
The singer's vocal apparatus works as a single whole according to the principle of a wind musical instrument. The factor that ensures the close functional interaction of its main parts (respiratory apparatus, larynx and resonators) is the acoustic wave.
A feature of the integrity of these systemic connections is the two-way direction of interaction forces: direct (active) and reverse (reactive) forces. As a result, the impact on any one part immediately affects the work of the other two. The larynx acts on the resonators, sending sound waves into them, and the resonators, amplifying certain groups of overtones, send these amplified sound waves back to the larynx, thereby changing the nature of vibrations of the vocal cords and facilitating their work according to the law of reaction. Resonators provide a positive effect on the larynx and improve the functioning of the vocal apparatus as a whole. However, resonators can also put the larynx in difficult conditions by suboptimally tuning the upper and lower cavities, as a result of which the sound may become not close and flying, but instead dull, flat, white, occipital, nasal, upturned and vulgar.
When working with optimal tuning of resonators, it is important to remember that the singer’s vocal apparatus is a living musical instrument. It is structured much more complex than a pipe or organ, since in addition to the acoustic and pneumatic forces of interaction, there are extremely diverse forces of neuro-reflex connections between the breath, larynx and resonators.
EXERCISES TO DEVELOP RESONATORY SENSATIONS
Correct use of resonators when singing has a positive effect on the timbre of the voice, its flight, and high positional formationand rounding the sound. It is necessary to begin working on the correct functioning of the resonator cavities by finding the correct sensations when the vocal resonators operate.
In order to evoke an understanding of the action of resonators, there are a number of techniques:
INITIAL EXERCISES
1 . Singing with closed mouth consonants"m","n".
(In this case, the sound goes through the nasal passages, leading to vibration of the cavities of the upper resonator).
2 . Singing vowel exercises"And".
(Thanks to the high-frequency vibrations, the sound itself is high and gives a good sense of resonance.)
3 . Singing with tightly closed ligaments.
(Leads to brightness, metallicity of sound, causing a response in the resonators).
EXERCISES FOR UPPER RESONATORS
1 . Inhale through your nose. As you exhale with your mouth closed, as powerfully andmake a short sound"Mmm".
(The hand lying on the crown will feel a characteristic vibration).
2 . Inhale through your nose. As you exhale, noticeably lengthening the last sound, sing the words"bom""house".
3 . Inhale through your mouth. Sing the syllables as you exhale"mi-mii","do-dooo"“mu-muuu.”
(Try to keep the vowel in the same place where the resonance of the initial consonant sound is felt).
EXERCISES FOR LOWER RESONATORS
1 . Inhale through your nose. Holding the larynx in the lower position, pronounce the sounds drawn out:"O","y".
(The hand lying on the chest will feel a characteristic vibration).
2 . Inhale through your nose. As you exhale, sing the syllables:"m-uuu""m-oooh"“m - iii.”
(Try to remember the feeling of the chest vibration felt in your hand).
3 . Inhale through your mouth. As you exhale, chant:"milk","I'll bite""tururu".
(Keep your chest vibrating throughout the entire chant.)
Close attention should be paid to the development of resonator sensations at the very beginning of learning to sing in order to form an understanding of the nature of the sound that one should strive for, and to remember the sensations that should accompany a high-quality singing voice. Gradually, these sensations become familiar and are perceived as an integral part of good sound.
It is important to develop both types of resonance simultaneously. If you do not take into account all the components of singing voice formation, and focus only on the head or chest resonance, the result may be degradation of the voice, since excessive head resonance can lead to pinching of the voice, and when forcing the chest resonance, the voice becomes heavier and it becomes difficult for it to move upward.
Based on the correct resonator sensations, the singer can navigate the quality of phonation and facilitate the functioning of the vocal apparatus. When both resonators operate simultaneously, the cords operate using a mixed type of oscillation, which makes it possible to voice the entire range with an even sound, without feeling register jumps.
When working on head and chest resonance, you need to remember that the resonator properties of different singers are not the same and depend on individual characteristics, as well as the shape of the resonator cavities.
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