LARYNX- the initial cartilaginous section of the respiratory system in humans and terrestrial vertebrates between the pharynx and trachea, is involved in voice formation.

Outside, its position is noticeable by the protrusion of the thyroid cartilage - Adam's apple ( Adam's apple) more developed in ♂.

Cartilages of the larynx:

1. epiglottis,
2. thyroid,
3. cricoid,
4. two arytenoids.

When swallowing, the epiglottis closes the entrance to the larynx.

Mucous folds go from arytenoid to thyroid - vocal cords (there are two pairs of them, and only the lower pair is involved in voice formation). They oscillate at a frequency of 80-10,000 vibrations/s. The shorter the vocal cords, the higher the voice and the more frequent the vibrations.

Ligaments close when talking, rub when screaming and become inflamed (alcohol, smoking).

Functions of the larynx:

1) breathing tube;

Standing calmly Breathing deeply Singing

Articulation- the work of the organs of speech, performed when pronouncing a particular sound; degree of pronunciation. Articulate speech sounds are formed in the oral and nasal cavities depending on the position of the tongue, lips, jaws and the distribution of sound streams.

tonsils- organs of the lymphatic system in terrestrial vertebrates and humans, located in the mucous membrane of the oral cavity and pharynx. Participate in the protection of the body from pathogenic microbes, in the development of immunity.

TRACHEA

Trachea (windpipe)- part of the respiratory tract of vertebrates and humans, between the bronchi and the larynx in front of the esophagus. Its length is 15 cm. The anterior wall consists of 18-20 hyaline half-rings connected by ligaments and muscles with the soft side facing the esophagus. The trachea is lined with ciliated epithelium, the vibrations of the cilia of which remove dust particles from the lungs into the pharynx. It divides into two bronchi - this is a bifurcation.

BRONCHI

Bronchi- tubular air-bearing branches of the trachea.

Probably every person loves to sing or tries to sing. If you have never learned to sing or are just starting out, then it may just be interesting for you to get acquainted with vocal terms, to learn something new for yourself. Well, if you want to practice vocals professionally, then you just need to know the structure of your working apparatus, at least in general terms. Knowledge will shorten your path to success in vocals, save you from many "pitfalls". Accurate information will help to "filter" information and not trust all advisers indiscriminately. In addition, it is much easier to perform an action by first visualizing its process in detail mentally.

"The human voice is the result of the coordinated work of the entire vocal apparatus," wrote Manuel Garcia, the largest teacher of the 19th century (g. g)
The voice box is complex system which includes many organs.
The main role in the production of sound belongs to the larynx. The relaxed free position of the larynx is considered the most "favorable" for singing. Here, the air pushed out by the lungs meets the closed vocal cords in its path and sets them in oscillatory motion.

The vocal cords can be long or short, thick or thin. Laryngologists have found that ligaments in low voices are longer than in high ones. However, Caruso, the tenor, had bass strings.
The vibrating vocal cords form a sound wave. But in order for a person to pronounce a letter or a word, the active participation of the lips, tongue, soft palate, etc. is necessary. Only the coordinated work of all organs of voice formation turns simple sounds into singing.
The nasal cavity also plays an important role. Together with the paranasal sinuses, she takes part in the formation of the voice. Here the sound is amplified, it is given a peculiar sonority, timbre. For correct pronunciation speech sounds and for the timbre of the voice, the state of the nasal cavity and paranasal sinuses is of some importance. It is their individuality that gives each person a peculiar timbre of voice.
Interestingly, the cavities in the anterior part of the human cranium fully correspond in their purpose to the acoustic vessels walled up in ancient Roman amphitheatres, and perform the same functions of natural resonators.
The mechanism of correct voice formation is based on the maximum use of resonation.
The resonator is primarily a sound amplifier.
The resonator amplifies the sound without requiring any additional energy from the sound source. Skillful use of the laws of resonance makes it possible to achieve tremendous sound power up to 120-130 dB, amazing tirelessness, and beyond that - ensures the richness of the overtone composition, the individuality and beauty of the singing voice.
In vocal pedagogy, two resonators are distinguished: head and chest. The head resonator was discussed above.
The lower, chest resonator gives the singing sound lower overtones and colors it with soft, dense tones. Owners of low voices should use the chest resonator more actively, and those of high voices should use the head resonator. But for each voice it is important to use both chest and head resonators.
The German educator Yu. Gey considers "the connection of the chest and head resonators possible with the help of a nasal resonator, which he calls the "golden bridge".
The singer's breath plays an important role.
Breathing is the energy system of the vocal apparatus of the singer. Breathing determines not only the birth of sound, but also its strength, dynamic shades, to a large extent timbre, pitch, and much more.
In the process of singing, breathing must adjust, adapt to the work of the vocal cords.
This creates the best conditions for their vibration, maintains the air pressure that is needed for a particular amplitude, frequency of contractions and density of closure of the vocal cords. Maestro Mazetti considered "a necessary condition for singing is the ability to consciously control breathing."

How can respiratory muscles be developed?

The "plasticity" of breathing, strength, free handling of it, the singer needs to develop breathing exercises. In the old days, Italian vocal teachers brought a lit candle to the student's mouth. The wavering or fading of the flame indicated that the student was exhaling too much air without using it. Candle training continued until the technique of vocal breathing was perfected. In addition to such exercises with a candle, you can advise exercises with books that are placed on the stomach in a prone position and lifted by the force of the diaphragm.

How can this be useful in everyday life?

"Breathing is life!" - says the proverb. “If you breathe well, you will live long on Earth,” say yogis. If you do not have the time and patience to regularly practice yoga breathing exercises, combine business with pleasure - sing! Full vocal breathing is very similar to yoga breathing exercises and has the same benefits:

protects against diseases of the respiratory organs, relieves runny noses, colds, coughs, bronchitis, etc. saturates the blood with oxygen, and therefore cleanses it develops a narrow chest helps the stomach and liver work normally (contractions of the diaphragm, together with the rhythmic movement of the lungs, light massage to the internal organs) restores the functioning of the body, so a fat person loses weight, and a too thin person gets better

And there is nothing surprising in the fact that vocal lessons help to master the technique of breathing on and under water, because the basis of swimming is the same deep rhythmic breathing.

Singer is important breath associated with singing. The main thing for a singer is not the strength of breathing, not the amount of air that his lungs take in, but how this breath is held and spent, how exhalation is regulated during singing, that is, how its work is coordinated with other components of the vocal apparatus.
Learning to sing beautifully and correctly is not easy. The singer, in comparison with other musicians-performers, has difficulty in self-control. Audio playback tool - voice box is part of his body, and the singer hears himself differently from those around him. During training, both resonator and other sensations associated with singing turn out to be new and unfamiliar to him. Therefore, the singer needs to know and understand a lot.

"Singing is a conscious process, and not spontaneous, as many believe" -.
Singing voices, both in women and in men, are of three kinds: high, medium and low.
High voices are soprano for women and tenor for men, middle voices are respectively mezzo-soprano and baritone, low voices are contralto and bass.
In addition, each group of voices has even more precise subdivisions:

soprano - light (coloratura), lyrical, lyrical-dramatic (spinto), dramatic;

mezzo-soprano and contralto are themselves varieties;

tenor-altino, lyrical (di-gracia), mezzo-characteristic (spinto), dramatic (di-forza);

baritone lyrical and dramatic;

bass-high (cantanto), central, low (profundo).

The correct definition of the nature of voice data is the key to their further development. And this is not always easy to do. There are distinct categories of voices that leave no one in doubt as to their nature. But for many singers (not just beginners) it can be difficult to immediately determine the nature of the voice.

It should be remembered that the middle register of all singing voices is most convenient when looking for natural sound and the right vocal sensations.
The setting of the voice consists in revealing its nature and acquiring the correct techniques singing.

The presence of a good, reliable and promising vocal technique leads to the fact that the acoustic indicators of the voice - sonority, flight, voice power, dynamic range, etc. improve as a result of "tuning" the voice in the process of singing.
Umberto Mazetti believed that "a small range and a small voice power are not completely exclusive professional education factor." He believed that from proper treatment and good schooling, the voice could gain strength and develop in range.
The voice is rarely all "on the surface". More often, his resources are hidden due to the inept use of the vocal apparatus, its underdevelopment, and only in the process of training, when the voice develops, does its dignity, richness and beauty of timbre become clear to us.

Scientific research.

The fact that the human voice is formed in the larynx, people have known since the time of Aristotle and Galen. Only after the invention of the laryngoscope (1840) and the classical works of M. Garcia (gg.) It became known that the sound of the voice is the result of periodic vibration of the edges of the vocal cords, which occurs under the action of an air respiratory stream. as an active operating force in this process (vibration: closing and opening of the vocal cords) the pressure of the air jet appears. This is the "myoelastic theory" by M. Garcia.

The scientist Raoul Husson in 1960 put forward a new, so-called "neuromotor theory", the essence of which is as follows: the vocal cords (folds) of a person do not fluctuate passively under the influence of a passing air current, like all the muscles of the human body, they contract actively under the influence of coming from central nervous system impulses of biocurrents. The frequency of impulses is highly dependent on the emotional state of a person and on the activity of the endocrine glands (in women, the voice is a whole octave higher than in men). If a person begins to sing, then according to Yusson, the regulation of the pitch of the fundamental tone begins to be carried out by the "cerebral cortex".

The human voice apparatus is an exceptionally complex device and, like any complex apparatus, it is evident that it has not one, but several, to a certain extent, independent of each other regulatory mechanisms controlled by a central nervous system. And so both of these theories are valuable.

The sound of a person's voice is a form of energy. This energy, generated by the vocal apparatus of the singer, causes air molecules to vibrate periodically with a certain frequency and strength: the more often the molecules vibrate, the higher the sound, and the greater the amplitude of their vibrations, the stronger the sound. Sound vibrations in the air propagate at a speed of 340 m per second. The vocal apparatus is a living acoustic device, and, therefore, in addition to physiological laws, it also obeys all the laws of acoustics and mechanics.

So, how are vocal organs person.

They are based on diaphragm- muscular-tendon septum, (thoracic-abdominal barrier) separating the chest cavity from the abdominal cavity .. The diaphragm is a living foundation for a whole and perfect instrument. The diaphragm is a powerful muscular organ attached to the lower ribs and spine. During inhalation, the muscles of the diaphragm contract and the volume of the chest increases. But we cannot feel the diaphragm, because its movement during breathing and voice formation occurs at a subconscious level.
chest cavity protected by ribs and thoracic vertebrae, contains vital organs - lungs, heart, windpipe, esophagus.

Lungs- like real organ bellows, they participate in sound production, creating the necessary air flow. From the lungs, air enters bronchi, thin and similar to the branches of a tree. Then they join together and form the trachea, which goes up, vertically. Trachea- consists of cartilaginous semirings, it is quite mobile, and is connected to the larynx.

Larynx performs a triple function - respiratory, protective and voice. Its skeleton is made up of cartilage, which are interconnected by joints, ligaments, and muscles, due to which they have mobility. The largest cartilage of the larynx is the thyroid, and its size determines the size of the larynx. Low male voices are characterized by a large larynx protruding on the surface of the neck in the form of an Adam's apple. superior opening of the larynx, the so-called entrance to the larynx is formed by movable laryngeal cartilage - epiglottis. When breathing, the larynx is free, and when swallowing, the free edge of the epiglottis leans back, closing the opening of the larynx. During singing, the entrance to the larynx is covered by the epiglottis. The larynx tends to be very mobile, mainly in the vertical plane.

AT in the middle the larynx narrows, and in the narrowest place there are two horizontal folds, or - ligaments. The opening between them is called the glottis. Above the vocal cords are - ventricles of the larynx above each of which is a fold parallel to the vocal cords. The superior ventricular folds are called false and consist of loose connective tissue, glands, and poorly developed muscles. The glands in these folds provide moisture to the vocal folds, which is very important for the singing voice. During sound production, the vocal folds connect or close, and the gap closes. The ligaments are covered with a dense mother-of-pearl fabric. Ligaments can change their length, thickness, and fluctuate in parts, which gives the singer's voice a variety of colors, richness of sound and mobility.
Sound resonates in the cavity above the larynx, in the pharynx .

Pharynx quite bulky, irregular shape. The pharynx is separated from the palate, the so-called palatine curtain. A small tongue at the back of the palate, as if forming a double arch. The size of the pharynx can vary from the movements of the palate and tongue. Also, for proper sound production, great importance articulation. The structure of the vocal apparatus is individual characteristics in each individual case.

Therefore, the pedagogical approach to each vocalist is also very individual. When working with a singer, first of all, the physical state of the vocal apparatus, the physiological structure and personality characteristics of the singer, psychological and emotional state. And on the basis of the received idea, an individual program is drawn up.

The main task of the teacher is to choose from his usual set of exercises for each singer exactly what he needs at the moment. Or, if none of these exercises is perceived correctly by the student, improvise on the go exactly what will be clear to the beginning singer. It is important that the singer feel that he can achieve the right result, that his voice sounds better. He should enjoy vocal lessons.
Undoubtedly, the teacher needs to be careful not to force a successful result. The main thing is that the student realized and remembered the pleasant feeling when singing, felt his abilities. Next time he will try to remember and reproduce all his good moments.

Many vocal teachers advise you to feel the sound in the stomach, on the diaphragm, on the tip of the nose, in the forehead, in the back of the head ... Anywhere, but not in the throat, where the vocal cords are located. But this is a key moment in the device of the voice apparatus! The voice is born precisely on the cords.

If you want to learn how to sing correctly, this article will help you better understand the structure of the vocal apparatus!

Physiology of the voice - vibrations of the vocal cords.

Recall from a physics course: sound is a wave, isn't it? Accordingly, the voice is a sound wave. Where do sound waves come from? They appear when the "body" vibrates in space, shakes the air and forms an air wave.

Like any wave, sound has movement. The voice must be sent forward even when you sing softly. Otherwise, the sound wave will quickly die out, the voice will sound sluggish or clamped.

If you are into vocals, but still do not know what the vocal cords look like and where they are, the video below is a must-see.

The device of the vocal apparatus: how the ligaments and voice work.

• We take a breath, the lungs increase in volume.
• On exhalation, the ribs gradually narrow and.
• Air travels up the trachea and bronchi to the pharynx where the vocal cords are attached.
• When a jet of air hits the vocal cords, they begin to oscillate: close and open hundreds of times per second and create vibrations in the throat.
• Sound waves from the vibration of the vocal cords diverge through the body, like circles on water.
• And then we direct the born sound wave into the resonators with our attention - into the nose, mouth, feel vibrations in the head, chest, face, neck ...
• We shape the resonant wave of sound into vowels and consonants with the tongue and lips, with the help of diction and articulation.
• We fill our mouths with sound, let it go forward with an open smile and ... sing!

Errors in the work of the vocal cords.

The device of the voice apparatus consists of all the stages described above. If there are problems at least on one of them, you will not get a free and beautiful voice. More often errors occur at the first or second stage, when we. The ligaments should not come into conflict with the exhalation! The smoother the stream of air that you exhale, the smoother the vibrations of the vocal cords, the voice sounds more uniform and beautiful.

If he does not control the flow of breath, then an uncontrolled stream of air comes out at a time with a large wave. The vocal cords are unable to cope with such pressure. There will be a disconnection of ligaments. The sound will be sluggish and hoarse. After all, the tighter the ligaments close, the louder the voice!

And vice versa, if you hold your exhalation and, there is a hypertonicity of the diaphragm (clamp). The air will practically not go to the ligaments, and they will have to oscillate on their own, pressing against each other through force. And thereby rub the calluses. They are nodules on the vocal cords. At the same time, painful sensations arise during singing - burning, perspiration, friction. If you work in this mode constantly, the vocal cords lose their elasticity.

Of course, there is such a thing as "belting", or a vocal cry, and it is done with a minimum exhalation. Ligaments close very tightly for loud sound. But you can sing with such a technique correctly only by understanding the anatomy and physiology of the voice.

The vocal cords and larynx are your first vocal instruments. Understanding how the voice works and the vocal apparatus gives you limitless possibilities - you can change colors: sing either with a more powerful sound, then ringing and flying, then gently and reverently, then with a metallic ringing shade, then in a half-whisper, taking the audience by the soul .. .

About 15 muscles of the larynx are responsible for the movement of the ligaments! And in the device of the larynx there are also various cartilages that ensure the correct closure of the ligaments.

It is interesting! Something from the physiology of the voice.

The human voice is unique:

• People's voices sound different because each of us has a different length and thickness of the vocal cords. In men, the cords are longer, and therefore the voice sounds lower.
• Singers' vocal cords fluctuate in the approximate range from 100 Hz (low male voice) to 2000 Hz (high female voice).
• The length of the vocal cords depends on the size of the person's larynx (the longer the larynx, the longer the vocal cords), so the vocal cords are longer and thicker in men than in women with a short larynx.
• Ligaments can stretch and shorten, become thicker or thinner, close only at the edges or along their entire length due to the special structure of the vocal muscles at the same time longitudinal and oblique - hence the different coloring of the sound and the strength of the voice.
• In a conversation, we only use one tenth of the range, that is, the vocal cords can stretch ten times more for each person, and the voice can sound ten times higher than the spoken one, this is inherent in nature itself! If you understand this, it will be easier.
• Exercises for vocalists make the vocal cords elastic, make them stretch better. With elasticity of the ligaments voice range increases.
• Some resonators cannot be called resonators because they are not voids. For example, the chest, back of the head, forehead - they do not resonate, but vibrate from the sound wave of the voice.
• With the help of sound resonance, you can break a glass, and the Guinness Book of Records describes a case when a schoolgirl shouted over the noise of a plane taking off thanks to the power of her voice.
• Animals also have ligaments, but only a person can control his voice.
• Sound does not propagate in a vacuum, so it is important to create the movement of exhalation and inhalation in order to reproduce sound when the vocal cords vibrate.

How long and thick are your vocal cords?

It is useful for every novice vocalist to go to an appointment with a phoniatrist (a doctor who treats the voice). I send students to him before starting the first vocal lessons.

The phoniatrist will ask you to sing and show with the help of technology how the voice works and how the vocal cords work in your singing process. He will tell you how long and thick the vocal cords are, how well they close, what kind of subglottic pressure they have. All this is useful to know in order to better use your voice box. Professional singers go to the phoniator once or twice a year for prevention - to make sure that everything is fine with their vocal cords.

We are accustomed to using the vocal cords in life, we do not notice their vibrations. And they work even when we are silent. No wonder they say that the voice apparatus imitates all the sounds around us. For example, a rattling tram passing by, the screams of people on the street, or the bass from the speakers at a rock concert. Therefore, listening to quality music has a positive effect on the vocal cords and increases your vocal level. And silent exercises for vocalists (there are some) train the voice.

Vocal teachers do not like to explain the physiology of the voice to their students, but in vain! They are afraid that the student, having heard how to close the vocal cords correctly, will begin to sing “on the cords”, the voice will be squeezed.

In the next article, we will look at a technique that helps you easily control your voice and hit high notes just because the vocal cords work correctly.

The most ancient musical instrument is the voice. And ligaments are its main component. Always feel the work of the vocal cords when singing! Study your voice, be more curious - we ourselves do not know our capabilities. And hone your vocal skills every day.

Subscribe to the news of the O VOCALE blog, where a small life hack will soon appear, how to feel if you are closing your vocal cords correctly when breathing.

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The development of the voice always requires a correct diagnosis of its type. To make a correct diagnosis - to correctly determine the type of voice at the beginning of training is one of the conditions for its correct formation. In shaping the character of the voice, not only constitutional factors play a role, but also adaptations, i.e., acquired skills, habits.

When a novice singer, copying some favorite artist, sings with an unusual character of his voice, “bass”, “tenor”, ​​etc., then most often this is easy to identify by ear and correct. In this case, the natural, natural character of the voice is revealed with all obviousness. However, there are cases when the voice sounds natural, relaxed, basically true, and yet its character remains intermediate, unrevealed.

Determination of the type of voice should be conducted on a number of grounds. Among them are such voice qualities as timbre, range, location of transitional notes and primary tones, the ability to withstand tessitura, as well as constitutional features, in particular, the anatomical and physiological features of the vocal apparatus.

The timbre and range are usually revealed already at the admission tests, but neither one nor the other feature taken separately can yet tell us with certainty what kind of voice the student has. It happens that the timbre speaks for one type of voice, but the range does not correspond to it. The timbre of the voice is easily deformed by imitation or incorrect singing and can deceive even the picky ear.

There are also voices with a very wide range, exciting notes uncharacteristic for this type of voice. On the other hand, there are also those that have a short range that does not reach the tones necessary for singing in a given character of the voice. The range of such singers is most often shortened at one end, i.e., either a few notes are missing in its upper segment or in its lower one. It is rare when it is narrowed at both ends.

Additional data to help classify the voice comes from the analysis of transitional notes. Different types of voices have transitional sounds at different pitches. This is what the teacher uses to more accurately diagnose the type of voice.

Typical transitional notes, also varying between singers:

Tenor - mi-fa-fa-sharp - salt of the first octave.
Baritone - D-E-flat - E of the first octave.
Bass - la-si - si-flat small C-C-sharp of the first octave.
Soprano - mi-fa-fa-sharp of the first octave.
Mezzo-soprano in C-D-D-sharp of the first octave.

In women, this typical register transition is in the lower segment of the range, while in men it is in the upper one.

In addition to this feature, the so-called primary sounds, or sounds that sound most easily and naturally in a given singer, can help in determining the type of voice. As it has been established by practice, they are most often located in the middle part of the voice, that is, for a tenor in the region up to the first octave, for a baritone - in the region of A small, for a bass - F of a small octave. Accordingly, the female voices.

The correct solution to the question of the type of voice can also be suggested by the singer's ability to withstand the tessitura inherent in this type of voice. Under the tessitura (from the word tissu - fabric) is meant the average sound-height load on the voice, available in this work.

Thus, the concept of tessitura reflects that part of the range where the voice most often has to stay when singing. this work. If a voice close in character to a tenor one stubbornly does not hold a tenor tessitura, then one can doubt the correctness of the manner of voice formation chosen by him and speaks for the fact that this voice is probably a baritone.

Among the signs that help determine the type of voice, there are anatomical and physiological. It has long been noted that different types of voices correspond to different lengths of vocal cords. It should also be remembered that vocal cords can be organized in different ways in work and therefore used to form different timbres. This is clearly evidenced by cases of a change in the type of voice among professional singers. The same vocal cords can be used for singing different types voices depending on their adaptation. Nevertheless, their typical length, and with an experienced look of the phoniatrist and an approximate idea of ​​​​the thickness of the vocal cords, can orient in relation to the type of voice.

Phoniatricians have long deduced the relationship between the length of the vocal cords and the type of voice. According to this criterion, the shorter the cords, the higher the voice. For example, for a soprano, the length of the vocal cords is 10-12 mm, for a mezzo-soprano, the length of the ligaments is 12-14 mm, for a contralto - 13-15 mm. The length of the vocal cords of male singing voices is: tenor 15-17 mm, baritone 18-21 mm, bass 23-25 ​​mm.

In a number of cases, even when a singer enters the stage, one can accurately judge the type of his voice. Therefore, there are, for example, such terms as "tenor" or "bass" appearance. However, the relationship between the type of voice and the constitutional features of the body cannot be considered a developed area of ​​knowledge and rely on it when determining the type of voice.

In 1741 Ferrein(Ferrein) for the first time made experiments on a dead larynx, which I. Muller later carefully checked. It turned out that only "in general" the number of vibrations of the vocal cords obeys the laws of string vibrations, according to which doubling the number of vibrations of any string requires squaring the tension weight.

Muller cut vocal cord length, pressing them in different places with tweezers both under tension and in various relaxed states. It turned out that, depending on the tension of the ligaments, either low or high sounds are obtained when both long and short ligaments function.

Great importance is attached vocal muscle activity(m. thyreo-arythenoideus s. vocalis). On a living larynx, the pitch of the sound does not depend on the lengthening, but on the contraction of the vocal cords, which is ensured by the activity of m. vocalis (V. S. Kantorovich). Shorter and more elastic vocal cords, other things being equal, provide an increase in sound, which corresponds to the physical concepts of a vibrating string. At the same time, the thickening of the vocal cords leads to a decrease in sound.

When as you rise fundamental tone tension of the vocal muscles(without thickening of the ligaments) becomes insufficient, the thyroid-cricoid muscles, which stretch (but not lengthen) the vocal cords, contribute to an increase in tone (MI Fomichev).

Vibrations of the vocal cords can be carried out not throughout their entire length, but only in a certain segment, due to which an increase in tone is also achieved. This is due to contraction of the oblique and transverse fibers of the vocalis muscle and possibly the oblique and transverse muscles, the arytenoid cartilages, and the lateral cricoarytenoid muscle.

M. I. Fomichev believes that the position of the epiglottis has some effect on the pitch. At very low tones, the epiglottis is usually strongly lowered, and the vocal cords become immense during laryngoscopy. As you know, closed pipes give a lower sound than open ones.

In singing, chest and falsetto are distinguished. sounds. Musehold was able, with the help of laryngostroboscopic photographs, to trace individual slow movements of the vocal cords.

With a chest voice, the cords are presented in the form two thick tense rollers tightly packed with each other. The sound here is rich in overtones and their amplitude slowly decreases with increasing pitch, which gives the timbre the character of fullness. The presence of chest resonance in the chest register is disputed by most researchers.

In falsetto, the ligaments appear flattened, strongly stretched and a gap is formed between them. Only the free edges of the true ligaments oscillate, moving upward and laterally. A complete interruption of air during falsetto does not work. As the falsetto tone increases, the glottis shortens due to the complete closure of the ligaments in the posterior sections.
With a mixed sound, the ligaments oscillate about half their width.