UNIVERSAL VOICE.

The basic qualities of the vocal folds

UNIVERSAL VOICE.

The basic qualities of the vocal folds

The basic qualitiesof the vocal folds

What arebasic qualities

In recent years, the EVT course of Universal Voice Institute has grown with the knowledge of science and the symposiums attended. For former students, therefore, an update here, but good for everyone to hear / read again.

What are basic qualities and why do we need a division into basic qualities? A basic quality is a quality in which the vocal folds vibrate in a certain way. They have a clear character and are easily recognizable to the ear. Musical styles can be easily divided into them and artists are easy to recognize by the quality in which they predominantly sing.

Speech, falsettoCry and Belting

The basic qualities consist of the primary qualities: speaking, whispering, singing and shouting. In other words: Speech, Falset, Cry and Belting. This one 4 basic qualities are derived from the way our vocal folds vibrate within their mechanism. The mechanical part consists of the Cricoid (ring cartilage), Thyroid (thyroid cartilage), the Arytenoids (arybones) and the vocal folds in between. We call the way the mechanism works a fashion.

Fashion1 and 2

In science there are two modes: mode 1 and 2. Mode 1: unstretched vocal cords. This is also called: chest voice, modal register, thick vocal folds, overdrive, chest register, breitschwingung, heavy register or TA (Thyro-Arytenoid muscle) dominant. The TA muscle is most important for making the sound.

Mode 2 is: stretched vocal folds. This is also called head voice, falsetto register, fine vocal folds, neutral, light register, Randschwingung, or CT (CrycoThyroid muscle) dominant. The CT muscle is most important for making the sound. These are just about the terms you find in different languages, used by different teachers and in different books.

There is also talk of a mode 0, where the vocal folds vibrate irregularly. You can hear this in vocal fry, death screams and grunts. We will not consider this fashion here.

variations withinall modes

Mode 1:Speech and Belt

Within all modes you also have variations. In mode 1 you have a speaking sound and a calling sound. We use the terms speech and belt here. The mechanism for these two qualities is made by making the thyroid (thyroid cartilage) and the cricoid (ring cartilage) stand straight together. That means that the voice muscle, the thyro-arytenoid muscle, is dominant in phonation (making sound).

The two differences in the names stem from the character of the sound. This is determined by changing the thickness of the vocal fold mass within the mechanism. In speech, the vocal folds are thick, closing from bottom to top with a lot of mass. They are closed for a long time before reopening.

With belting there is even more thickness in the mass and the vocal folds are closed even longer. This is due to compression, movement to the midline, of the vocal folds. The vocal folds are also slightly shorter in length at higher tones. As a result, there is more sub-glotal pressure (pressure under the vocal folds) with belting than with speech.

Mode 2:cry and falsetto

In science there are two modes: mode 1 and 2. Mode 1: unstretched vocal cords. This is also called: chest voice, modal register, thick vocal folds, overdrive, chest register, breitschwingung, heavy register or TA (Thyro-Arytenoid muscle) dominant. The TA muscle is most important for making the sound.

Mode 2 is: stretched vocal folds. This is also called head voice, falsetto register, fine vocal folds, neutral, light register, Randschwingung, or CT (CrycoThyroid muscle) dominant. The CT muscle is most important for making the sound. These are just about the terms you will find in different languages, used by different teachers and in different books.

There is also talk of a mode 0, where the vocal folds vibrate irregularly. You can hear this in vocal fry, death screams and grunts. We will not consider this fashion here.

Tip! registernow

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what aboutopera and twang ?!

In Level 2 of the EVT course, opera and twang are also basic qualities. But these are of course variations on the real basic qualities. In addition to a basic fashion, other aspects such as singer formant, laryngeal position and tongue position are important here. Together they determine the character of the sound, which is why we speak of opera or twang. This is also possible in pop, jazz, cabaret, song art, fado, etc.

Where and how ismade the sound?

In basic qualities we really only look at the source of the sound, where and how the sound is made. Twang or Ary Epiglottic Constriction is separate from that. All kinds of intermediate forms are also possible. The degree of thickness of the vocal folds can be changed and so a sound becomes less loud, more friendly, more tearful or with more or less air.

In singing we will balance the vocal muscle (TA) and the tilt muscle (CT). The most correct is therefore to speak about how dominant / strong the voice muscle (TA muscle) or the tilt muscle (CT muscle) works.

  • In Belting, the TA muscle is super dominant.
  • In Speech, the TA muscle is also dominant but less dominant.
  • In Cry, the CT muscle is dominant.
  • In Falset, the CT muscle is most dominant.
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