The position in Singing
Yawning, the Soft Palate, Tongue Position, Mask, and Nasalization
From the book Marcello del Monaco — Il maestro dei tenori.
For me, the optimal singing position, as I have already said, is what I call the “yawning” position. In practice, this position involves raising the soft palate, increasing the width of the oral cavity through the lowering of the jaw, and correctly positioning the tongue, which should be well flattened, hollowed in the center, slightly resting on the lower teeth, and never contracted at the base. Once this action is completed, a real lowering of the larynx will also be felt. Furthermore, by raising the soft palate we notice a refinement in our ability to perceive the forward vibrations of the voice.
Through the technique of laryngeal deepening, we try to keep the resonant space in the pharynx under control and, at the same time, the height of the resonance of the sound. Regarding the so-called “sound in the mask,” I would like to point out that about fifteen years ago my brother Mario introduced me to some studies by the vocal pedagogue William Vennard, who downplayed the importance that had been attributed up to that time to the idea of the mask in singing. In his studies, Vennard demonstrated that the nasal cavities contribute nothing to the resonance of sound in vocal emission.
The concept of the mask was very widespread in the past, but I do not approve of it, because it tends to produce a lowering of the soft palate and a certain nasalization. I personally abhor the nasal sound, as I find it aesthetically unacceptable. In my opinion, this type of position should therefore be avoided, because it reduces the resonant space in the retropharynx, with consequent repercussions on color, timbre, and phrasing articulation.
Furthermore, vocalization performed with a low or very relaxed soft palate leads to a loss of vocal brilliance, reducing harmonics and, above all, volume. We can easily verify this if we experiment with different positions of the soft palate, paying attention to its height. It becomes clear that the search for a nasal sound corresponds to the lowest position of the soft palate.
“Yawn” Position
• raising the soft palate
• lowering the mandible
• increasing the width of the oral cavity
• correct positioning of the tongue
• lowering of the larynx
Conclusions:
Through the technique of laryngeal deepening, we strive to keep the resonant space in the pharynx under control and, at the same time, the height of the resonance of the sound.
If you’d like a broader introduction to the Melocchi method, you may also enjoy the overview on our homepage: Arturo Melocchi Academy
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