Lack Of Knowledge Associated With Tension

By Author: Maria Gini
Total Articles: 505
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Neck Muscle Tension
Any competent Vocal Coach will tell you that the lack of knowledge of voice and singing anatomy as well as poor speech habits and vocal technique can create tensions during singing. In fact, it's been well documented by voice experts that having limited knowledge of the anatomy and physiology of the vocal mechanism is, more likely than not, the cause of neck muscle problems. In contrast, having a well rounded knowledge about the voice was associated with fewer such difficulties. Therefore, it only stands to reason that the more you study the anatomy of your voice and proper breath management skills the better you will be able to control and relax your muscles.
Many individuals have errors in their speech that can go unnoticed until they apply that same erroneous technique to their singing. These detrimental speaking habits, which may include everything from improper tone production to ineffective breathing or shouting, can lead to singing voice problems. It's not always the case, but many times there is a link ...
... between the difference in how untrained or improperly trained singers use their muscles when singing or when speaking.
Some recommended reading to help you better understand the proper vocal techniques and to resolve your muscle tension problems is as follows…
•  Laryngeal biomechanics of the singing voice
•  Otolaryngology – Head and Neck Surgery, Volume 115, Issue 6, Pages 527 – 537
•  Koufman, T. Radomski, G. Joharji, G., Russell, D. Pillsbury
In addition to referencing the above material, it is also advisable to seek vocal training that emphasizes proper (classical) technique, which will help resolve neck muscle tension problems over time. Plus, a competent instructor will be able to assist you in locating the cause of your neck tension and correct any bad habits so that you can improve both your singing and speaking tasks.
Throat Tension
Typically the term throat refers to the area encompassing both the pharynx and the larynx. Since these two are interrelated, it can be a challenge to pinpoint the exact location of the tension. In fact, sometimes diagnosing the specific site of pain or tension may prove impossible. If it feels as though you're experiencing generalized throat tension, the following segments of this article may help you identify any specific vocal behaviors that may be the cause of your tension. If your generalized or localized pain in your throat is consistent it may be wise to consult with an otolaryngologist or ear, nose and throat physician to see if he or she can pinpoint any underlying medical or behavioral problems that might be causing the excessive tension in your muscles. While most people take it for granted, the voice is a delicate instrument and you should treat it as such, especially if you want it to function well throughout your lifetime.
Tension in the Tongue
Tension felt in the tongue is usually not confined to one specific area. This is because the tongue is made up of a complex bundle of muscles, thus tension is typically experienced throughout the entire organ. The first step for a singer is make certain they are not doing anything significantly different with their tongue patterns while they sing than what they would do while speaking in that same range of pitches.
Maintaining this relationship between singing and speech will allow the lips, jaw and tongue to follow patterns of normal spoken enunciation, and will cure most problems of tongue tension. In some instances, speaking phrases then singing them on a single pitch in lower-middle range with the same patterns of phonetic articulation as occur in speech will loosen the tongue and further hasten to cure tongue tension.
One exercise that has proven to be successful in reducing tongue tension is to have the lips slightly apart why simulating a slight, gentle chewing motion. Next continue the chewing motion and hum a few pitches while moving the jaw up and down. Then, using the same lateral jaw motions experienced while chewing, sing a short phrase in a comfortable range. Next, you should alternate between singing the phrase with a chewing motion and without the chewing motion and follow that exercise by introducing longer phrases.
Another exercise to relax the tongue and help eliminate tension is having the singer sustain an affirmative spoken “Hmm,” and paying attention that the contact of the tip of the tongue with the inner surface of the lower front teeth should be drawn. Next, while executing a vowel sequence quickly, such as /i-e-a-o-u/, the tip of the tongue can be moved in small back-and-forth motions against the inner surface of the lower front teeth – sustain the tone and stop the lateral movement of the tip of the tongue. After relaxing the tongue the singer should return to musical phrases, insisting that the tongue retain this freedom. The above exercises are intended only to be a temporary measure to decrease tongue tension or strain. They should be gradually replaced with a more stable tongue posture that is appropriate during the demands of singing tasks.
Tension in the Jaw
Inadvertently clenching the jaw during what should normally be relaxing activities, reading, watching television and hanging the jaw too low while singing can lead to jaw tension. This excessive tension in the jaw can be detected by examining the posture of the tongue, jaw and neck either during singing and speaking or during or even during relaxing tasks to make certain he or she isn't holding or clenching the jaw too tightly. Some singers and teachers believe that a tight jaw can be cured by dropping it or forcing it downward. However, just the opposite is true since excessively dropping the jaw or thrusting it down and forward can result in medical conditions, such as temporomandibular joint dysfunction (TMJ) that can become so severe that the jaw becomes unhinged at the joints.
Some singers and teachers alike also believe that by opening the mouth widely and lowering the jaw excessively helps them create more resonating space within the vocal tract thereby helping them project better. Once again just the opposite is true, since allowing the jaw to drop actually creates tension, decreases jaw mobility and narrows the pharyngeal space and forces the submandibular musculature to press downward on the larynx, so natural volume is hampered and tone is distorted and becomes imbalanced.
It's important to note that singers need to not only be mindful of how low their jaws drop, but also of how forward they are allowing them to be. Jaws that are in a distended posture invites acoustical and phonetic distortion that cuts out higher overtones and results in immature sound being produced. This technique also elevates the larynx, which adds to the thin, immaturity of the sound. In addition, poor adduction of the vocal folds can cause a large “break” in the voice to be produced. Finally, this forward thrusting of the jaw causes the soft palate to be elevated, meaning it assumes a low position that often results in a nasally or thin tone.
Thrusting the jaw forward can also cause the breath to be choked off by the root of the tongue making the breath line unhealthy and inefficient. When there is an excessive amount of tension at the root of the tongue vowels tend to sound distorted. Some teachers instruct their students to try maintaining the very wide “oval” mouth shape regardless of the vowel being sung. However, this position does not promote the changing acoustic events of phonation. Instead, this technique distorts all the vowels throughout the entire range, destroying both diction and resonance balance.
It is also common for some teachers to assume that students who don't have very wide mouth openings have tight clenched jaws, when in fact there could be numerous other causes for this condition. For instance, sometimes a jaw that protrudes forward is caused by skeletal or cerebral misalignments that can be detected and corrected through quick and painless chiropractic adjustments.
A teacher who is knowledgeable concerning jaw tension will be able to help the student take corrective measures and reestablish proper phonetic postures. Once this is accomplished most singers recover from tension and conditions, such TMJ without any medical attention. Simply stated, keeping the jaw comfortable and in a healthy position will decrease tensions and will encourage healthy and beautiful singing.
There are some exercises that have been proven very successful in reducing jaw tension. One is to gentle massage the jaw muscles with the jaw and tongue relaxed. This exercise is done by holding the teeth slightly apart with the lips remaining closed use the pads of the fingers to massage the muscles along the side of the jaw. Rub very gently and be careful not exert undo pressure on the jaw. If tension is present in the muscles below the jaw, they do may need to be massaged.
Another typical exercise for reducing jaw tension is the same exercise that helps in reducing tongue tension. This involves adding subtle movements of the jaw when performing singing tasks. This is where with the lips apart the singer simulates a circular chewing motion to twenty to thirty seconds. Then with the lips closed, he or she would hum a few pitches, at the same time moving the jaw back and forth while repeating the gentle chewing motion. Next, still using the lateral jaw movements experienced during chewing, the student would sing a short phrase in a comfortable range. This would be followed by singing the same phrase without the chewing motion. Once the student is at ease with these steps, he or she can introduce longer sung phrases, alternating between the chewing motion and normal articulation postures. The next step is for the student to move the jaw rapidly back and forth while speaking a single sustained vowel, being careful not to move the joints out of their sockets. Wiggle the jaw sidewise for a moment or two then stop moving it while sustaining the vowel. The student should practice this technique with various vowels then sing a longer passage, first with the chewing motions, then without them.
In some severe cases where jaw muscle stiffness has been caused by years of holding too much tension in that area of the body, correcting the problem may not be a quick process, but may take an extended period of time. If psychological or emotional problems are the reason for this excessive tension, those issues need to be addressed.
When Learning To Sing , a student should be aware that not all teachers have the necessary know how to diagnose tensions of the neck, throat, tongue and jaw, and many do not have the skills needed to help their students reduce this kind of tension. The student should always practice due diligence when selecting a teacher. It is always better to find the best there is, rather than having to switch to another teacher later after someone else has failed.
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