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ize a coordinated onset. 25 larynx in the right place for the desired tone produc-
tion. It could be helpful to watch videos of professional
• For maximum intelligibility, Western contemporary choirs of differing cultural or stylistic backgrounds to
popular and musical theatre styles tend to emphasize note and mimic their facial expressions while singing.
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the speechlike pronunciation of vowels. Mov- Encourage your students to try out various facial posi-
ing the “hump” of the tongue more forward, like in tions when singing warm-ups so they can actively feel
speech, can increase intelligibility and provide the the sensations associated with different styles of singing.
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brighter sound these styles require. Provide students
with opportunities to try vowel modification exercises, 3. Develop a System.
particularly those that involve intentional tongue move- While many choir directors involve themselves in
ment, to help students become aware of the sensations the choral network by attending professional devel-
that simultaneously alter the vowel and brightness of the opment conferences and participating in professional
tone. learning communities, it can be challenging for them to
take the time needed to actually implement the sugges-
• A lowered larynx may be best for singing in classical tions from experts in the network. Choir directors are
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styles, but it is not the only option. Varying degrees already stretched thin between score study, fundrais-
of raised laryngeal placement can contribute to ing, after-school rehearsals, performances, and all the
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healthy and stylistically appropriate tone production in administrative tasks involved in teaching. How can
contemporary and some non-Western styles of sing- choir directors go about appropriately and thoroughly
ing. When I first learned this concept, I was confused educating choir students in a variety of tone practices
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because it conflicted with what I had learned in all my without adding significantly more to their already full
years of vocal training. Working with a brilliant teacher, plates?
I learned how to be flexible with my larynx to achieve
the desired tone across different styles and was amazed • Save concert programs, professional development
at how quickly I learned to access parts of my voice session handouts, repertoire guides, repertoire sugges-
that hadn’t previously been developed. tions, slide shows, recordings, presenters’ contact infor-
To begin exploring laryngeal placement with stu- mation, and any other useful resources.
dents, try having them gently rest a hand on their throat
to feel the larynx move up and down with swallowing • While you’re sitting in professional development ses-
and yawning to become familiar with the sensations as- sions, scan any handouts and other resources with a
sociated with laryngeal placement. Then play around scanning app on your phone (JotNot, for example).
with how it feels to sing with a raised larynx. I suggest
starting with the syllable “yeah” on descending pentas- • Compile the resources you collect to make them more
cales, rearticulating on each pitch, and sliding through readily accessible when planning time is limited. Keep
all the vowel sounds. “Yeah”—or “nyeah” if that works all resources in one easily accessible place online (e.g.,
better—allow for nasality, forward placement, and Google Drive, Dropbox), on your computer desktop, or
horizontal spread of the mouth, which can facilitate even in your desk drawer. That way, you may be more
healthy singing with the larynx raised. likely to put these valuable resources to use in meaning-
ful ways when teaching your students about choral tone
• The easiest way to recreate a singing style is to “put in diverse styles or anything else new, for that matter!
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your face in the right place.” While classical singers
anchor the larynx and relax the tongue and jaw, many
high belters jut out their jaw, ramp their tongue, and Conclusion
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raise their cheeks. Of course, these specific tech- It is imperative to recognize that certain practices in
niques aren’t for every style or every singer, but it is choral tone are appropriate in certain contexts. Choir
noteworthy that facial expressions can help put the directors and students may have diverse backgrounds

CHORAL JOURNAL March/April 2025 Volume 65 Number 7 53