A signer who has a rich high-pitched voice has the ability to make the cricothyroid muscle move wide and has built the cricothyroid muscle itself into having a highly strengthened condition.
The cricothyroid muscle is a very important muscle, which is used when letting out a high-pitched voice.
The cricothyroid muscle contracts, to move the cricothyroid articulation.
The cricothyroid articulation is a very small joint which is located between and connecting the thyroid cartilage to the cricoid cartilage.
The cricothyroid muscle has 2 parts, the pendant moiety part and an oblique part, whereas each contraction direction is different.
The pendant moiety and the oblique part move separately, but also have complex movements when in cooperation.
The following figure below shows: the red line is the movement of pendant moiety part, the green is the movement of oblique part and the blue circle is the complex movement for both parts in cooperation.
The cricothyroid articulation moves to make the high register.
It is very important to move the cricothyroid articulation into a wide state to be able to use the cricothyroid muscle efficiently.Even if you try to train a high-pitched voice over and over again if the cricothyroid articulation does not move properly, you won’t be able to build and strengthen the cricothyroid muscle.
Please start here by checking the movement of your cricothyroid articulation first, if you struggle to let out a high-pitched voice.
A high quality microphone will capture your best possible voice! A low quality microphone simply will not, and when compared the level of clarity is quite noticeable.
Working as a voice care specialist I have heard and reviewed a lot of people singing. Many of whom I can instantly classify as being not good because they sound like they are forcefully letting out their voice loudly due to the sheer fact that they are using a low quality microphone.
A low quality microphone won’t be able to pick up the details of the voice and also the singer can’t hear their voice very well from the speakers. Those are the main reasons why the voice sounds like its forcefully being let out resulting in shouting and sounding strained.
In fact, I guarantee your favorite singers as well as the most popular artists never uses a cheap microphone, for example in the range of costing around 10-50 dollars.
They use really high quality expensive microphones in order to make their voice sound its best and be heard well. But the reality is that many amateur and up and coming singers just can’t afford a high quality lavish microphone.
Even if you are an amazing vocalist and copy some singers to a ‘T’ in the exact right key and tone such as in Karaoke or when singing in a live local performance, it is still quite challenging to sound the same or better than the original song which was recorded using a high quality microphone. Don’t get discouraged!
Because … there is countermeasure! There is hope in offsetting those common issues, and some small tricks I will share with you now to get the most possible out of a cheap microphone. Cover the microphone head with palms of both hands and close to your mouth as much as possible between vocalizing. This tip will make it so your voice can be heard without having to shout or strain. You will also be able to hear your voice more from the speaker as well.
If you cover the area above and around your mouth surrounding the microphone head with the both hands in a cup shape when vocalizing lengthy and strong/powerful notes, that will prevent the microphone from catch the exiting breath escaping out of the sides giving the voice a more direct and clear sound. That action is projecting your voice into the proximal phalanx of your hands.
After becoming used to the above microphone hand forms, you can then practice controlling the tone and/or volume by opening and closing your fingers.
Please use those techniques to be able to adapt and sing successfully using any kind of microphone.
It is not easy to find the fascia of the pendant moiety or the oblique part on the cricothyroid muscle.
If you have enough experience to inspect the cricothyroid muscle, you will be able to determine the size and movement of the pendant moiety and the oblique part.
You also can know that everybody has a different cricothyroid muscle. These variances can be small or large,. The most common being having a muscular cricothyroid muscle, different sizes when comparing between the right and left muscles, having problems with moving muscles due to LDP, muscles that are really thin, or although the cricoid cartilage is big the cricothyroid muscle very well may be small.
However, sometimes, I cannot find the boundary between the pendant moiety and the oblique part on the cricothyroid muscle.
In my case, when that happens I try to look for the fascia of the cricothyroid muscle by first moving the sternohyoid muscle.
Then I sometimes find people who have the adhesion of facsia between the pendant moiety and the oblique part on the cricothyroid muscle.
If there is an adhesion of fascia between the pendant moiety and the oblique part, the cricothyroid muscle sometimes has a problem with moving, because the muscle’s movement is being restricted.
The top reasons causing adhesion are (1)External injury (massaging too strong, someone/something hitting your throat, choking your neck.e.g.) (2)Too extreme or hard vocal training (shouting too much, spending an extremely long time vocalizing, vocalizing with excessive tension.e.g.) or (3)Innate/hereditary.
The signs of adhesion are minimal. As a matter of fact many people report that there is no pain and that they can even talk normally, but definitely feel obstructed when letting out a high-pitched voice.
When I treat someone for this issue, I separate the fascia from the muscles. Doing this fixes the movement of the cricothyroid muscle, making it easy to let out a high-pitched voice again.
Holding a microphone properly is vital, when singing. Use the following tips to to improve your holding stance and produce the best vocals. If you want to resonate your natural voice, you have to hold the microphone even (upright) with the ground, and get your mouth either close to or far from the microphone. The distance you hold it will correspond to the voice’s volume or pitch.
Be mindful to hold the microphone diagonally when letting out a high-pitched voice or falsetto.
If you hold the microphone horizontally when exhaling a lot of air to produce a high-pitched voice, you won’t be able to let out a good voice easily. This is because the air flow is obstructed by the microphone.
Whether you are showcasing your speaking voice or vocalizing to sing a song, both rely on and are directly associated with the direction the microphone is held as well as the specifications of the microphone. Please try to follow the above mentioned rules of thumb to produce the best voice and get the most out of your microphone.
Note:Always keep in mind where the diaphragm of the microphone is located when holding it. The proper way is to position the diaphragm to be lined up between the center of the mouth’s hard palate and the front edge of the tongue. In doing this, when the mouth is opened for singing, the microphone can pick up the voice to its best ability.
I want those of you who are or Music Teachers and Vocal Coaches, or if you employ one to be aware of their techniques and training curriculums, focusing on not supporting methods of teaching students forcefully how to sing a song.
I think that Music Teachers and Vocal Coaches really have to, themselves have vocal talent, a strong physical ability as well a good techniques to train others in ‘how to sing a song.’
However, these techniques do not necessarily fit everyone!
Everybody has different ways of moving their muscles relating to vocalization, which make up the the voice’s tone and pitch.
In the case regarding some genre specific targeting Vocal Coaches, it is almost torture for the student to ignore natural abilities and force a student to sing by only the Coach’s techniques.
Specifically, the student cannot go against their training and the Teacher or Coach’s way.
This is Voice Harassment.
Please watch out for these signs and also be careful if you see a Vocal Coach or Music Teacher tell you the following:
1.Make sure you remember you should only practice singing by my method!
2.Why can’t you sing like I taught you?
3.You shouldn’t take these classes or training sessions if you can’t learn to sing my technique.
4.You squeeze your throat tight when letting out the high register, because you are not brave!
5.(Fire you up when singing!) Cursing, yelling or calling you names.
6.You are incompetent if you can’t sing this song!
It is important to know the difference between strict training techniques and voice harassment.
Everybody thinks in order to win an argument, the way to do it is by describing the justifiable claim in a coherent manner to argue the other side down.
Although the content of the conversations is surely important… there are other important factors as well relating to the voice. Such as the following:
(1) Figure out their feelings by listening to their the voice and tone.
If you know how they are feeling to begin with you will have an advantage in the argument.
(2)Make other people think your opinion is credible by the voice you present regardless of the content of the conversation.
Even if people look really confident, sometimes their mind feels differently, as they are really not. You can feel and identify this through a person’s voice.
Listen to the other person’s voice who is arguing carefully. When people get really nervous, their voice tends to turn to the high register and/or they tend to talk faster than usual. Due to tension, the muscles relating to vocalization including vocal cord muscles become stiff which makes the voice higher.
Speaking speed also becomes faster due to heightened tension, and unconsciously the speaker tries to finish speaking as quickly as possible. When someone raises their voice, please try to handle them calmly, and figure out what they are feeling at that moment. If you show them your calmness and stand your ground with a confident attitude, the other person is more likely to trust your opinion.
(3)You can display a calm and confident attitude by focusing on speaking with a good, low and slow voice.
Please do not concern yourself with twists and turns, such as them trying to change the subject or about the content of the conversation so much, and just focus on keeping a calm voice when speaking.
If you speak lower and slower than usual, the other side more often will start thinking that your opinion/argument/decision might be right.
If the other person is feeling rushed and/or emotional, you actually have more advantage in the overall argument.
In the end, the most important thing is to try not to meet them with the same feelings.
If you get angry like the other side, you will lose.
Success is in the outcome of having talked down the other person by using your voice!
Note:For another technique of talking, some individuals start talking slow at first and then intonate their voice by changing the strength and/or pitch later on in the argument/disagreement. In this case it would be appropriate for you to copy their voice or speech slightly in your response, to be able to propitiate them.
I treated a Man who had the issue of a firm larynx that goes into a deep position when he inhaled.
The Man expressed to me how he was bothered by this issue with every breath he took.
He went to see a Doctor of respiratory medicine because he thought he had an apnea syndrome. That doctor told him that there was no problem with his throat. He then sought a second opinion, and came to my Voice Care Clinic.
I measured the stiffness of the musculus extrinsic laryngis using a hardness tester.
I got the following results:
I was so surprised at the numbers this Man displayed. The level of stiffness was so high, and strangely only when he inhaled.
When I listened carefully when he inhaled, I could hear an inward air sound in the form of a ‘Hyu’ from him.
He seemed to be inhaling with the utmost strength!
He stated that it has been hard for him to breath for as long as he could remember. In other words a really long time, this was not a new issue.
Digging deeper into his history was not easy, but after going through a lengthy checklist of probable causes, we discovered that the root of the problem started when he was kid. He avidly attended swim class and his personal swim coach always told him to, ‘Inhale air as strong and deep as you can when taking a breath before going under the water.’
Taking his swim training very seriously and to prove dedication, the Man began inhaling air in this extreme nature with all the strength he had, every breath … even when he was not swimming.
Due to his intense swim training, this Man unknowingly created a habit of inhaling air too strong in his daily life. He could exhale properly at a normal rate, in which air would still exit his lungs automatically without any strain.
It was a long road of over several months of recovery training, but I eventually was able to rehabilitate this Man.
After I cured him, the final result of the level of stiffness of his musculus extrinsic laryngis went to down to 30tone.
He used to feel a sensation of choking when he was sleeping, which would wake him up suddenly. Now, not only can he can sleep well after fixing his stiff muscles, but most importantly he can take a breath normally when inhaling without making a ‘Hyu’ air sound anymore.
Note:This rare case of Inhalation LDP was an learned/acquired habit of the musculus extrinsic laryngis, not a disease.