Djarts Voice Coaching ~ www.djarts.com.au
© Daniel K. Robinson - 2010
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TongueTied
By Daniel K. Robinson(2 0 0 8 )
The Great book describes the tongue as the rudder of a ship (James 3:4-8 MSG).
Comparatively small in contrast to the bulk that it directs yet it wields such force
as to determine the direction and ultimate destination of its passengers. How
true this is even for singers...moreover for singers!
I often state that singing is not about ‘perfect notes...it is about communication’,
and language is foundational to communication. Have you ever been frustrated
as an audience member when you find yourself unable to determine the lyric
from the notes? Perhaps the singer in question is struggling with that ‘rudder’
called the tongue. The tongue is not only observed in its role as a singer’s
primary articulator. Often the tongue can be observed as an active influence in
the deterioration of vocal tone and general stamina. This undesirable activity is
referred to as ‘tongue-root tension’. Janice Chapman in her book “Singing and
Teaching Singing” states:
“Singers use tongue retraction and tongue-root tension to increase auditory
feedback…Many singers also use the tongue root as a false depressor of the
larynx when attempting to sing with the lowered position that is desirable in
classical singing...Tongue-root tension also occurs when there is inadequate
breath support for the singing voice.” (Chapman & Morris 2006)
Tongue-root tension will often evidence itself with an almost ‘swallowed’ sound
as if the voice cannot quite make it past the back of the throat. As the student
singer becomes more aware of their ‘placement’ (a kinaesthetic awareness of
where the sound is placing along the vocal tract) he/she should be able to
determine, with the help of their singing teacher, when the voice is ‘falling’ back
down the throat and ‘onto the larynx’. Ultimately, as contemporary singers, we
are aiming for the sound to be present in the mask. This placement is often
along the bridge of the nose but may vary from singer to singer. Tongue-root
tension is often a well-worn habit that requires intentional and persistent
practice to overcome. Chapman offers the following exercises to help
“experience appropriate kinaesthetic sensations of normal tongue root use.
Accent Method Breathing using /Ө [voiceless ’th’] and /ð [voiced ‘the’]
with the tongue fully protruded. The fricatives in isolation first,
followed by syllable babble with these fricatives. Initially higher tongue
position vowels should be used in babble.
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