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this breathing method: contraction the lungs, and the internal intercos- “uh oh.” Though Cottrell posits that
of the diaphragm, relaxation of the tals exert pressure on the upper por- the coup de la glotte is not recommend-
abdomen, followed by an expansion tion of the lungs. As a result, max- ed in choral performances, teaching
of the chest cavity caused by exter- imum expiratory force is achieved. it during the warm-up will translate
12
nal intercostals. This combination This balanced breathing method into fi rmer, clearer vocal sounds.

is the most effective way to increase off ers singers more control over air- Sustained tone exercises (such as
total lung capacity. Panting (like an fl ow and subglottal pressure, leading singing on an /a/ vowel on any sin-
overheated dog) is a practical tool to to more consistent breath support. gle pitch) serve an important role in

draw attention to these muscle areas Cottrell’s final principle specifi es teaching support. It allows each sing-
in the breathing process. that good breath support is depen- er to concentrate on breath manage-
The second principle that Cottrell dent upon fi rm glottal closure. 14 ment, making corrections as needed;
sets forth is that opposing muscular Two laryngeal muscles are responsi- it builds continuous coordination of
forces must be balanced during con- ble for this: the interarytenoids (IAs) breath and resistance in the folds;
trolled expiration. During expira- and lateral cricoarytenoids (LCAs). and it leads to the ability to sustain
13
tion, the muscles of inhalation (di- Both sets of muscles must be con- legato phrases, producing a more
15
aphragm and external intercostals) tracted for complete glottal closure. connected tone. It is also important
remain slightly contracted to provide Engaging only the LCA results in a to note that because singers take in a
resistance to expiratory forces from glottal gap, causing breathiness and breath to sing an entire phrase, the
the internal intercostals and abdom- a weak, unsupported tone. Garcia conductor should aim to rehearse in
inals. This resistance keeps the exha- advocated the coup de la glotte as a phrases—and not little spurts. This
lation muscles from contracting too way to build fi rm phonation in his trains the singers’ bodies to take in,
quickly and prevents air from being singers. This onset is not harmful, if and release, breath effi ciently for
forced out rapidly. During expira- properly trained, and can easily be each phrase.
tion, the abdominal muscles exert translated into the singing tone. To
pressure over the lower portion of feel this, speak the American phrase
Conclusion
Singers’ vocal development in
a choral ensemble starts with the
MASTER OF MUSIC IN MUSIC EDUCATION director’s clear understanding of

NEW CHORAL TRACK technique, rooted in a scientifi c
understanding of the mechanism,
Conservatory of Music
and supported by historical peda-
Encounter a blend of the latest music gogy. These seven essentials form
a foundation for the singers’ vocal
education theory and real-world applications. growth: the choral warm-up, pos-
START NOW. Finish in a total of just three summers. ture, breathing and support, tone,
choral blend, musical acuity, and
June 21 – July 9, 2021 (Online) APPLY FOR THIS SUMMER AT the conductor’s model/gesture. This
CAPITAL.EDU/MMME
Foundations of Music Education initial installment of a two-part arti-
Music Psychology cle refines understanding of the fi rst

three precepts: the choral warm-up,
July 12 – July 23, 2021 (On-Campus)
posture, and breathing and support.
Music Education Topics: Culture and Society Once these three are understood
Advanced Choral Conducting Techniques
Curriculum and Assessment and applied, tone, choral blend, mu-
sical acuity, and one’s own model

54 CHORAL JOURNAL June/July 2021 Volume 61 Number 11