Optimal Larynx Position in Singing

Laryngeal stability and control of the vertical position of the larynx are foundational tenets of good vocal production. The larynx must be free from tension and extrinsic muscle interference to respond to the requirements of singing.

It is vital that the larynx is not allowed to rise as the pitch ascends. This is important, not only for registration and blending purposes, but also for beautiful timbre. A raised larynx is undesirable because it produces a thinner, more strident vocal timbre.

Maintaining a stable laryngeal position allows the intrinsic muscles to adjust more easily for pitch and produces a more consistent timbre throughout the singer’s range. If the larynx is allowed to change position with each new pitch, the vocal quality will be inconsistent.

The optimal position of the larynx while singing is neutral- relaxed and comfortably low- the position it naturally assumes when we take a deep breath. The larynx should not be allowed to elevate when singing high pitches; nor should it be imposed excessively when singing low notes.

Muscularly forcing the larynx too low with the base of the tongue or the extrinsic depressor muscles produces an unpleasant, swallowed vocal tone.  An elevated larynx produces an equally unpleasant strident and thin vocal tone.

A neutral and relaxed larynx facilitates better register transitions.  If the larynx remains in a comfortably stable position as sung pitches become higher, the pharynx and mouth resonators are consistent in size, stabilizing formant and harmonic relationships and thus laryngeal function. 

A stable laryngeal position assures a smooth transition from the lower register to the upper register.

In good singing, space is present between the hyoid bone and the thyroid cartilage on either side of the larynx. Check this by placing the thumb and finger around the larynx while singing to determine whether the larynx is in a relaxed position or the swallowing muscles are elevating the larynx.

In remedial exercises, we may use temporary and extreme exercises that require a higher or lower laryngeal position, to counteract incorrect extrinsic muscle activation.

These temporary exercises will be discarded as soon as better coordination has been achieved.

When we do dumb, dopey or hooty exercises by imposing the larynx, we are activating the infrahyoid depressor muscles. This counteracts the tendency to hike the larynx with the suprahyoid elevator muscles. When we do witchy, bratty or Voce di Strega (voice of the witch) exercises, we are creating better vocal fold adduction with a higher laryngeal position via activation of the suprahyoid elevator muscles.

These are temporary measures that are discontinued once the desired coordination is achieved.

The Unbalanced/Pulled Lower vocal category is produced when TA muscle activity does not decrease sufficiently in the primo passaggio.  When the CT (cricothyroid)  and TA (thyroarytenoid) muscles don’t coordinate, the folds are unable to transition to the longer, thinner position of the upper register.

When TA-dominant phonation is taken too high, excessive subglottal air pressure and hyperfunction of the vocal folds are required to sing higher pitches. With this damaging method, singers can extend the lower register by several pitches, after which they usually flip into falsetto, an airy, anemic sound created as a result of a sudden decrease in air pressure, vocal fold compression, and closed quotient.

The singer is now left with two completely different voices; the upper voice is much weaker than the lower voice. This is an unhealthy and aesthetically unattractive way to sing. The lower register sounds pushed and shouted on the higher notes; the upper register sounds anemic and breathy and does not match the volume and intensity of the lower register.

We can avoid extending the lower register too high by maintaining a relatively low and stable larynx, appropriate air pressure, moderate volume, and relaxed throat and neck muscles. This will allow the vocal folds to transition from the shorter and thicker TA-dominant phonation to the lengthened and thinned CT-dominant phonation, with a smooth transition through the primo passaggio.

These skills can be developed with vocal training that coordinates and conditions vocal fold and resonance adjustments.

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