1. Resonance Faults Dr. Chuck Neufeld Lander University Dr. Chuck Neufeld Lander University

2. Resonance Faults  Faults Related to Nasal Resonance  Faults Related to Tone Color  Faults Related to Nasal Resonance  Faults Related to Tone Color

3. Nasal Resonance Faults  Excessive Nasality  Insufficient Nasal Resonance  Excessive Nasality  Insufficient Nasal Resonance

4. Nasal Resonance Faults  Two Types of Excessive Nasality  Postnasality or Nasal Honk  Forced Nasality or Nasal Twang  Two Types of Excessive Nasality  Postnasality or Nasal Honk  Forced Nasality or Nasal Twang

5. Nasal Resonance Faults  Postnasality or Nasal Honk  Nasal cavity is incorporated into the resonance system.  Nasal honk predominates the vocal tone.  This is also known as “true” nasal resonance.  Postnasality or Nasal Honk  Nasal cavity is incorporated into the resonance system.  Nasal honk predominates the vocal tone.  This is also known as “true” nasal resonance.

6. Nasal Resonance Faults  Forced Nasality, Nasal Twang, or “False” Nasality  More widely recognized as nasality.  Tight, pinched sound--appears to be centered in the nose.  Caused by constriction in the pharynx.  Postnasality or Nasal Honk (“true” nasality) is typically not present in sound.  Commonly heard in Country and Western and Bluegrass music.  Forced Nasality, Nasal Twang, or “False” Nasality  More widely recognized as nasality.  Tight, pinched sound--appears to be centered in the nose.  Caused by constriction in the pharynx.  Postnasality or Nasal Honk (“true” nasality) is typically not present in sound.  Commonly heard in Country and Western and Bluegrass music.

7. Nasal Resonance Faults  Insufficient Nasal Resonance  Resulting sound is denasal.  Caused by physical condition that prevents normal formation of nasal consonants-- limiting nasal resonance  Speaking with a bad head cold is a typical example of this sound.  Can be caused by swollen adenoids, deviated septum, or polyps in the nose.  Insufficient Nasal Resonance  Resulting sound is denasal.  Caused by physical condition that prevents normal formation of nasal consonants-- limiting nasal resonance  Speaking with a bad head cold is a typical example of this sound.  Can be caused by swollen adenoids, deviated septum, or polyps in the nose.

8. Correcting Excessive Nasal Resonance Faults  First, correctly diagnose the difference between “true” and false nasality  Have the singer hold their nose closed while singing on a vowel.  If sound changes significantly, then postnasality (“true” nasality) is probably involved.  If sound does not change, check for pharyngeal tension (use the yawn).  First, correctly diagnose the difference between “true” and false nasality  Have the singer hold their nose closed while singing on a vowel.  If sound changes significantly, then postnasality (“true” nasality) is probably involved.  If sound does not change, check for pharyngeal tension (use the yawn).

9. Correcting Excessive Nasal Resonance Faults  Correcting Postnasality or Nasal Honk  Adopt a new tonal model (personal demonstration is very useful).  Make student aware of problem.  Direct tonal sensations to a new location (move center to hard palate, not nose).  Exercise palatal muscles (hung-ah, and plosive consonants [b] and [p].  Correcting Postnasality or Nasal Honk  Adopt a new tonal model (personal demonstration is very useful).  Make student aware of problem.  Direct tonal sensations to a new location (move center to hard palate, not nose).  Exercise palatal muscles (hung-ah, and plosive consonants [b] and [p].

10. Correcting Excessive Nasal Resonance Faults  Correcting Nasal Twang  Begin by checking on posture, breathing, and support, since twang may be compensating for failure in another system.  Correcting Nasal Twang  Begin by checking on posture, breathing, and support, since twang may be compensating for failure in another system.

11. Correcting Excessive Nasal Resonance Faults  Correcting Nasal Twang  Three main goals  Eliminate unnecessary tension in the pharynx.  Develop a new tonal model (use demonstration).  Encourage the use of more oral space.  Direct tonal sensations to a new locale.  Correcting Nasal Twang  Three main goals  Eliminate unnecessary tension in the pharynx.  Develop a new tonal model (use demonstration).  Encourage the use of more oral space.  Direct tonal sensations to a new locale.

12. Correcting Insufficient Nasal Resonance Faults  Correcting Insufficient Nasality  Use humming exercises and vocalises centered on nasal consonants [m] and [n].  Refer to a physician if issues persist over time.  Correcting Insufficient Nasality  Use humming exercises and vocalises centered on nasal consonants [m] and [n].  Refer to a physician if issues persist over time.

13. Resonance Faults  Faults Related to Nasal Resonance  Faults Related to Tone Color  Faults Related to Nasal Resonance  Faults Related to Tone Color

14. Tone Color Faults  Sounds that are too bright (too white, too open, too forward)  Tends to emphasize mouth as resonator  Not enough throat resonance  Sounds that are too dark (too muffled, too swallowed, too covered, too far back)  Tends to emphasize throat resonance  Not enough mouth resonance  Sounds that are too bright (too white, too open, too forward)  Tends to emphasize mouth as resonator  Not enough throat resonance  Sounds that are too dark (too muffled, too swallowed, too covered, too far back)  Tends to emphasize throat resonance  Not enough mouth resonance

15. Tone Color Faults  Most voice teachers prefer balanced sound (although this is not unanimous)  Voice placement, focus, or projection is an illusion--not a scientific fact--yet, placement, focus, and projection are useful images for singers  Most voice teachers prefer balanced sound (although this is not unanimous)  Voice placement, focus, or projection is an illusion--not a scientific fact--yet, placement, focus, and projection are useful images for singers

16. Correcting Tone That Is Too Bright  Increase pharyngeal space (yawn, etc.)  Reduce tension in pharynx  Adopt a new tonal model  Deemphasize the mouth opening  Reduce tension in lips, tongue, jaw, palatal arches  Reduce hyperfunctional phonation, which is often associated with tone that is too bright.  Increase pharyngeal space (yawn, etc.)  Reduce tension in pharynx  Adopt a new tonal model  Deemphasize the mouth opening  Reduce tension in lips, tongue, jaw, palatal arches  Reduce hyperfunctional phonation, which is often associated with tone that is too bright.

17. Correcting Tone That Is Too Bright  Check posture, breathing, and support  Loosen up the body  Relax throat, neck, and articulators  Move sound more inside the body (“sing inside yourself”), further back, etc.  Imagine a deeper, richer, more dramatic sound  Use back vowels: [a], [o], and [u], preceded by [b], [m], or [j] to reduce tension.  Lower the larynx  Check posture, breathing, and support  Loosen up the body  Relax throat, neck, and articulators  Move sound more inside the body (“sing inside yourself”), further back, etc.  Imagine a deeper, richer, more dramatic sound  Use back vowels: [a], [o], and [u], preceded by [b], [m], or [j] to reduce tension.  Lower the larynx

18. Correcting Tone That Is Too Dark  Reduce overuse of “yawning” muscles.  Increase oral space.  Adopt a new tonal model.  Reduce flabbiness in pharyngeal walls.  Move tongue forward if necessary.  Reduce overuse of “yawning” muscles.  Increase oral space.  Adopt a new tonal model.  Reduce flabbiness in pharyngeal walls.  Move tongue forward if necessary.

19. Correcting Tone That Is Too Dark  Increase activity in articulators.  Check for breathiness in tone.  Make student aware of problem (use demonstration).  Direct tonal sensations to new locale.  Raise larynx (if it is depressed) using tongue-out approach.  Use front vowels [i], [I], and [e].  Increase activity in articulators.  Check for breathiness in tone.  Make student aware of problem (use demonstration).  Direct tonal sensations to new locale.  Raise larynx (if it is depressed) using tongue-out approach.  Use front vowels [i], [I], and [e].

20. Resonance Faults Dr. Chuck Neufeld Lander University Dr. Chuck Neufeld Lander University