Modal voice

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Vocal registers
From highest register to lowest register
Whistle
Falsetto
Modal
Vocal fry

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The modal voice register is the vocal register used most frequently in speech and singing. In this usage, the term modal refers to the natural disposition or manner of action of the vocal cords. The modal register lies above the vocal fry register and overlaps the lower part of the falsetto register. The modal register may also overlap part of the whistle register in some singers. A well trained singer or speaker can phonate two octaves or more within the modal register with consistent production, beauty of tone, dynamic variation, and vocal freedom.[1] The modal register begins and ends in different places within the human voice. The placement of the modal register within the individual human voice is one of the key determining factors in identifying vocal type.[2]

Contents

[edit] Physiological process of the modal register

In the modal register the length, tension, and mass of the vocal folds are in a state of flux which causes the frequency of vibration of the vocal folds to vary.[3] As pitch rises, the vocal folds increase in length and in tension and their edges become thinner. If a speaker or singer holds any of these three factors constant and interferes with their progressive state of change the laryngeal function of the voice becomes static and eventually breaks occur resulting in obvious changes in vocal quality. While some vocal pedagogists identify these breaks as register boundaries or transition areas between registers, other vocal pedagogists maintain that these breaks are a result of vocal problems caused by a static laryngeal adjustment that does not permit the necessary changes to take place within the modal register.[1]

Vocal cord, scheme
Vocal cord, scheme
Glottal cycle, modal voice
Glottal cycle, modal voice

On the lower pitches in the modal register the vocal cords are thick and wedge-shaped. Because of this thickness, large portions of the opposing surfaces of the vocal cords are brought into contact, and the glottis remains closed for a considerable time in each cycle. The glottis opens from the bottom first before it opens at the top; this imparts a fluid, wavelike motion to the cords. The modal voice has a broad harmonic spectrum, rich in overtones, because of this rolling motion of the cords. It is comparatively loud to the other vocal registers because of the vibratory energy present, but is capable of dynamic variation.[4]

For the lowest tones, only the thyroarytenoid muscles are active, but as the pitch rises, the cricothyroids enter the action, thus beginning to lengthen the folds. As longitudinal tension increases, the glottis tends to develop a gap in the middle. To counteract this tendency, the lateral cricoarytenoids are brought into action, pulling forward on the muscular process of the arytenoids. This process is sometimes referred to as medial compression.[5]

In addition to the stretching of the vocal folds and the increasing tension on them as the pitch rises, the opposing surfaces of the folds which may be brought into contact becomes smaller and smaller as the edges of the folds become thinner. The basic vibratory or phonatory pattern remains the same, with the whole vocal fold still involved in the action, but the vertical excursions are not as large and the rolling motion is not as apparent as it was on the lower pitches of the modal register.[6] The physical limits of muscular strength of the internal thyroarytenoids or vocalis muscle are being approached. In order to sing or speak above this pitch level the voice must adopt a new phonatory pattern-to change registers.[7]

[edit] See also

[edit] References

  1. ^ a b McKinney, James (1994). The Diagnosis and Correction of Vocal Faults, cited below
  2. ^ Large, John (February/March 1972). "Towards an Integrated Physiologic-Acoustic Theory of Vocal Registers", cited below
  3. ^ Large, John (February/March 1972). "Towards an Integrated Physiologic-Acoustic Theory of Vocal Registers", cited below
  4. ^ Van den Berg, J.W. (December 1963). "Vocal Ligaments versus Registers", cited below
  5. ^ Vennard, William (1967). Singing: The Mechanism and the Technic, cited below
  6. ^ Greene, Margaret; Lesley Mathieson (2001). The Voice and its Disorders, cited below
  7. ^ McKinney, James (1994). The Diagnosis and Correction of Vocal Faults, cited below

[edit] Further reading

Cooper, Morton (1973). Modern Techniques of Vocal Rehabilitation. Charles C. Thomas. 

Greene, Margaret; Lesley Mathieson (2001). The Voice and its Disorders. John Wiley & Sons; 6th Edition edition. ISBN 13: 978-1861561961. 

Large, John (February/March 1972). "Towards an Integrated Physiologic-Acoustic Theory of Vocal Registers". The NATS Bulletin 28: 30-35. 

McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN 13: 978-1565939400. 

Van den Berg, J.W. (December 1963). "Vocal Ligaments versus Registers". The NATS Bulletin 19: 18. 

Vennard, William (1967). Singing: The Mechanism and the Technic. Carl Fischer. ISBN 13: 978-0825800559.