.sherlynchia.com. Vocal coach. Performer.

How does studying vocology make one a better singing teacher? I see several aspects of teaching that benefit from vocology study:

Vocology: “The science and practice of vocal habilitation and treatment of voice disorders” (Titze, Principles of Voice Production). This definition emphasizes the interdisciplinary nature of the field of vocology. Vocologists include those who explore how to best enable a person vocally - why one approach works better than another, for example (voice scientists and medical doctors) as well as those who take this knowledge base and apply it in the training of voices (speech pathologists, acting voice coaches, singing voice teachers). For vocologists who specialize in the singing voice, our job is to find a way to implement the most up-to-date, scientifically-based knowledge on voice training, which has been gathered from all voice disciplines as well as from the fields of psychology and medicine, in the training of an artistic endeavor. The science informs our methodology.


1. Vocalizing, by including the incorporation of non-singing strategies and exercises from other disciplines, such as laryngeal massage, using vocal fry, humming, lip trills, etc.;
2. Organizing teaching methods and practicing strategies based on motor learning theories;
3. Using technology from the speech sciences to assist with initial assessments of students, to enhance the teaching studio environment and to track progress objectively;
4. Choosing repertoire;
5. Pedagogy teaching (drawing from all voice disciplines for resources; using technology to enhance learning pedagogical principles);
6. How one listens (functionally as well as artistically – this can be learned in part with the assistance of technology);
7. Collaborative relationships between teachers of singing, teachers of acting voice, medical doctors, speech-language pathologists, voice scientists, which aid all parties in understanding the relationship teaching singing has with other voice disciplines.


Here is a sample dialog between a vocology trained singing teacher and a new student. Note the types of questions the teacher asks:

Teacher: What's your favorite vocalise? Can you sing it for me?

Student: OK. [Sings 1-3-5-8-5-3-1 arpeggio on /i/]

Teacher: Ok. Nice sound! But how do you use it?

Student: What do you mean?

Teacher: In what range?

Student: Well, I generally start at the bottom and work my way up.

Teacher. Ok, that helps me understand what you do. [Taking notes]. Do you always use the same vowel?

Student: Well, I start with /i/, then try other vowels.

Teacher: Do you ever use consonants with it – like using a consonant to start the exercise, or one at the top of the arpeggio?

Student: Oh, sometimes I will – other times I just do vowels.

Teacher: Ok. When do you use it? Do you use it early in your vocalizing?

Student: Fairly early. Usually I do some sighs first, then this exercise.

Teacher: Ok, that’s good for me to know. How long do you stay with this one exercise?

Student: Oh, I go through different vowels and so forth, then move on to something else.

Teacher: OK. Why do you like it? What does it do for you?

Student: Oh, it helps me feel like I have my voice focused on the way up.

From here, the teacher can examine how this student’s favorite vocalise works: the vowels, the consonants, the pattern, the range the student uses it in, when he or she does it, and what it is doing physiologically. Then the teacher might be able to suggest ways in which the student might make it more effective.

Here’s another sample dialog between a vocologist/singing teacher and a new student.

Teacher: Tell me how you vocalize...you know, what do you do first, second, third, etc.

Student: Oh, well, I generally stretch some, then do some lip buzzes on descending patterns, then maybe some
descending scales [sings 8-7-6-5-4-3-2-1 on /u/], then some shorter ascending patterns, like [sings 1-2-1-3-1-4-1-5-1 on /va-i-a-i-a-i-a-i-a/]. After that, I might do a down-up-down pattern, like [sings 8-5-3-1-3-5-8-5-3-1 on /e/], then maybe some long scales or some phrases from pieces I am working on.

Teacher: How long do you spend vocalizing at one time?

Student: Oh, about 25 minutes.

Teacher: How much time do you spend with each exercise?

Student: Depends on how I feel that day, I guess.

Teacher: How many vocalises do you do in one session? You mentioned four before you started working on repertoire.

Student: Yeah, that sounds about right.

Teacher: How many times a day do you vocalize? Do you do several sessions per day, or just one?

Student: Well, if I have a rehearsal with my pianist or an opera rehearsal, I might practice more than once in a day.

Teacher: Did you devise these exercises yourself? Did you get them from your former teacher, or from a book?

Student: From all of the above – some I had heard other singers doing, and tried them and liked them; others are from my old teacher …

Teacher: Do you vary your vocalizing when you are warming up to perform?

Student: No, typically I just do the same stuff I always do.

Teacher: Why do you do what you do? Why in that order?

This type of initial dialog can give the teacher a great deal of insight into the student’s practice habits and how they have gotten to where they are technically. From this short interview, the teacher can begin to help the student shape their practicing in more effective ways.

The human voice consists of sound made by a human being using the vocal folds for talking, singing, laughing, crying, screaming, etc. Human voice is specifically that part of human sound production in which the vocal folds (vocal cords) are the primary noise source. Generally speaking, the voice can be subdivided into three parts; the lungs, the vocal folds, and the articulators. The lung (the pump) must produce adequate airflow to vibrate vocal folds (air is the fuel of the voice). The vocal folds (vocal cords) are the vibrators, neuromuscular units that ‘fine tune’ pitch and tone. The articulators (vocal tract consisting of tongue, palate, cheek, lips, etc.) articulate and filter the sound.




Men and women have different vocal folds sizes; adult male voices are usually lower-pitched and have larger folds. The male vocal folds (which would be measured vertically in the opposite diagram), are between 17 mm and 25 mm in length.[7] Matching the female body, which on the whole has less muscle than the male, females have smaller folds. The female vocal folds are between 12.5 mm and 17.5 mm in length.

As seen in the illustration, the folds are located just above the trachea (the windpipe which travels from the lungs). Food and drink do not pass through the cords but instead pass through the esophagus, an unlinked tube. Both tubes are separated by the epiglottis, a "flap" that covers the opening of the trachea while swallowing. When food goes down through the cords and trachea (can occur when a person inhales while swallowing), aspiration and possibly choking result.

The folds in both sexes are within the larynx. They are attached at the back (side nearest the spinal cord) to the arytenoid cartilages, and at the front (side under the chin) to the thyroid cartilage. They have no outer edge as they blend into the side of the breathing tube (the illustration is out of date and does not show this well) while their inner edges or "margins" are free to vibrate (the hole). They have a three layer construction of an epithelium, vocal ligament, then muscle (vocalis muscle), which can shorten and bulge the folds. They are flat triangular bands and are pearly white in color. Above both sides of the vocal cord is the vestibular fold or false vocal cord, which has a small sac between its two folds (not illustrated).

The difference in vocal folds size between men and women means that they have differently pitched voices. Additionally, genetics also causes variances amongst the same sex, with men and women's singing voices being categorized into types. For example, among men, there are basses, baritones and tenors, and contraltos, mezzo-sopranos and sopranos among women. There are additional categories for operatic voices, see voice type. This is not the only source of difference between male and female voice. Men, generally speaking, have a larger vocal tract, which essentially gives the resultant voice a lower tonal quality. This is mostly independent of the vocal folds themselves.

There are many many factors that may affect the voice. It is not just the usual "student not making enough effort" or sinus problem, nodules etc.

If you are a voice teacher, I strongly suggest that you arrange a session with a doctor specialising in ENT, particularly Otolaryngology (Head and neck) to find out in detail the different conditions that will affect the voice.

This will greatly help to understand the needs and problems of the students better and will not give the students a false impression that they are not making enough effort or feel very discouraged that they are just born to sing etc.. As teachers, we want to eliminate all negative emotions that our sudents face. This will hinder learning and limit improvement.

Slide one-

Non-singer.. Note how the walls tense as she goes higher. As the color turns black & white, it is in slow motion. Take note of the cords becoming thinner and longer as she sings higher.

Slide two-

Never cough!

Had lesson today with Shelagh Davies and Dr Paul Mok.. here are some of the things I learned:

1. Resonance

- No throat sensation

- Big resonance sensations far away from the throat

- Constricted sounds (humming, zzz, eee) booast good vocal fold efficiency

- Constricted sounds (humming, zzz, eee) are useful in training good voice production

- Nothing we ever eat or drink will touch the vocal folds for we will choke if it actually does. Lozenges are more for the comfort of the throat and not the vocal folds.


2. The Aging Voice-The process of Ossification

- Cartilages slowly becomes bone, causing stiffness but may help stablize structures during heavy singing.

- Muscle mass can decrease causing vocal fold bowing

- Edema (water rentention) near the vocal fold surface can cause roughness in vocal quality

- Muscles can stiffen, reducing pitch range

- Average speaking pitch tend to rise for men and fall for women

- Trained singers can retain strong and clear voice easily into their 70s


2. Vocal emergencies that will cause cancellation of performances(by Dr Paul Mok)

- Vocal Hemorrhage of the blood vessels under the vocal fold surface, resulting in scar formation or lesion if no rest

- Vocal Fold Mucosal Tear from harmful singing, shouting, severe cough and the vocal tissue begins to tear, resulting in loss of range and hoarseness, discomfort.

- Acute laryngitis from virus & bacteria from a cold and the vocal cords becomes heavy and unable to vibrate normally, causing hoarseness, low vocal breaks.

- Acute Edema from repeated vocal injury, causing scar to form within vocal cord mass. Voice becomes breathy and tired.

- Vocal nodules from vocal misuse & abuse.

- Intracordal masses- cysts or scars within the vocal cords from inflammation & scarring.

- Vocal polyps from habitual smoking and voice abuse.

The danger signs of the above are:

1. Roughness
2. Breathiness
3. Pitch breaks
4. Pitch change
5. Increased effort + Early Onset fatigue
6. Prolonged warm up time
7. Pain


Avoid taking lozenges with menthol and eucalyptus oil as it actually causes a numbing effect on the muscles, and gives the singers a false impression that the voice is relaxed.