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The Contract & Release Onset (C&R) was developed out of my interest to train

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stronger vocalis (TA), (CT) and interarytenoid musculature in the head voice.
This is the more “chest-like” musculature inside of the head voice that helps
make it sound more belty, without constriction, for a beefier aesthetic.

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One of things that is required to make your head voice sound more belty is the

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strengthening of the interarytenoids, which can be a double-edged sword.
When we pull on the interarytenoids we are flirting with pulling chest. If it is not

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done with careful balance, you can go too far and engage the constrictors.

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As a result, this onset, as well as any other interarytenoid work, is advanced
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T have had a lesson

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with
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work. While a beginner can do this onset, I do not advise training it until you
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doing it properly. Like the messa di voce and quack & release onsets, contract T
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& release has a special work flow sequence that helps build the
coordination and musculature to do it properly.

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To be sure, other onsets, such as dampen & release and attack & release, will
also build great musculature. But contract & release is to TVS onsets what

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doing squats in the gym are to working out your body’s musculature. If you want

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to really work out these muscles, contract & release will give you that added

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practical as an onset for singing).
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degree of heavy resistance. (However, the contract and release onset is not
used in performance mode, only in resistance training, as it’s too clunky to be

h e The C&R Onset Table tu tu

T MUSCULATURE & COORDINATION

t STROUBLE-SHOOTS THESE USED IN USED IN

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ONSET

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BENEFITS PROBLEMS TRAINING SINGING

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STRENGTHENS THE VOCALIS,

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CONTRACT

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CRICOARYTENOID (CT),

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BUILDS STRENGTH TO

THYROARYTENOID (TA), AES AND IMPROVE WEAK INTRINSIC

INTERARYTENOID MUSCULATURE. MUSCULATURE, WHICH CAN

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GREAT WORK FOR STRETCHING CAUSE WEAK HEAD VOICE

THE ADDUCTORS.

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V o Training C&R Onsets

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The Contract & Release onset can be executed anywhere in the voice.

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However, it seems to be most useful in the head voice, given that its purpose

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is to create resistance training for the musculature required for head voice

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connectivity. The Contract & Release onset requires close attention to its
training work flow.

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The C&R Training Work Flow

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1. MATCH FREQUENCY (PITCH)

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2. ENGAGE RESPIRATION

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3. OPEN EMBOUCHURE + OPEN GLOTTIS (FALSETTO)

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T 4. CLOSED EMBOUCHURE + OPEN GLOTTIS

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5. ENGAGE THE INTRINSIC ANCHORING SET INSIDE A CLOSED EMBOUCHURE (CLOSED MOUTH).

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5.1. ENGAGE VOCAL FOLD COMPRESSION.

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5.2. DAMPEN THE LARYNX.

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6. RELEASE TO THE ONSET AND MAINTAIN THE MUSCULATURE YOU FEEL WHEN YOU RELEASE. SING

SECOND COUNT.

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THROUGH IT, AND DON’T RELAX THE MUSCULATURE OR RESISTANCE YOU MAY FEEL, FOR A 4-5

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THE C&R ONSET CAN BE EXECUTED ANYWHERE IN THE VOICE. HOWEVER IT IS PRIMARILY USED ON

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NOTES ABOVE THE PASSAGGIO TO DEVELOP THE HEAD VOICE. PRACTICE ANY C&R ONSET ON ANY

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NOTE IN YOUR HEAD VOICE. FOR MEN, THIS WILL BE TYPICALLY ABOVE E4, AND FOR WOMEN, T
TYPICALLY ABOVE A4.

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THE C&R ONSET REQUIRES CLOSE ATTENTION TO THE SPECIFIC TRAINING WORK FLOW.

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V o V o
A still from “The Four Pillars of Singing” 2.0 at the old Market Theater in Seattle, WA.

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