A nasal tone in singing is often described as thin, pinched, or tinny, detracting from the desired warmth and power of the voice. This sound results when too much acoustic energy is improperly channeled through the nasal passages during phonation, preventing the full use of the oral cavity for resonance. Achieving a less nasal delivery is possible through targeted anatomical understanding and consistent application of specific vocal techniques. The goal is to transform this sharp quality into a richer, fuller, and more resonant sound.
Identifying the Cause of Nasal Tone
The anatomical root of a nasal singing tone lies in the function of the soft palate, technically known as the velum. This muscular structure is located at the back of the roof of the mouth and acts as a movable partition between the oral and nasal cavities. When the soft palate is properly elevated, it presses against the back wall of the throat, effectively sealing off the entrance to the nasal cavity. This velopharyngeal closure ensures that acoustic energy is directed exclusively out through the mouth, producing a clear, non-nasal tone.
A nasal sound, clinically termed hypernasality, occurs when the velum remains too low or relaxed during non-nasal sounds. This lowered position allows sound waves and air to escape through the nose. The resulting sound lacks proper oral resonance and acoustic power. Correcting this requires training the soft palate muscles to achieve a consistent, elevated position during all phonation where nasal sounds are not intended.
Exercises to Control the Soft Palate
The most direct path to reducing nasality involves training the soft palate muscles to lift and maintain a closed seal. One effective technique is the simulated yawn, where the singer consciously initiates a yawn sensation without fully completing the action. This movement naturally raises the velum, allowing the singer to identify the feeling of the correct, elevated position. Practicing this sensation while phonating a simple vowel, like “Ah,” builds muscle memory for the desired posture. This technique is often referred to as the “silent gasp” or “inner smile.”
Another targeted exercise involves contrasting the “Ng” sound with a pure vowel. The “Ng” sound, as in “sing,” requires the soft palate to be lowered, directing air entirely through the nasal cavity. After sustaining a clear “Ng,” the singer should immediately transition to an open vowel like “Ah” or “Ee.” Focus on the rapid and deliberate lift of the velum to cut off the nasal resonance, reinforcing the motor skill necessary for non-nasal singing.
Using plosive consonants like “K” and “G” provides a different approach to velar training. These sounds, known as velar stops, physically require the soft palate to be completely raised and sealed for proper articulation. Singing short phrases or scales using syllables such as “Kee-Kah-Koo” or “Gee-Gah-Goo” forces the necessary muscular action repeatedly. Focus on maintaining the elevated palate position immediately after the consonant releases and throughout the subsequent vowel sound.
Consistent practice of these isolation drills strengthens the muscles responsible for lifting the soft palate. The goal is to move the palate from a passive state to an active, controlled one, allowing the singer to raise it reflexively for all non-nasal sounds. Over time, this conscious control transforms into an automatic part of the overall vocal technique.
Adjusting Overall Vocal Placement
While soft palate control addresses the source of the issue, optimizing the entire vocal tract supports a non-nasal tone. A factor contributing to a pinched sound is the position of the tongue within the mouth. When the back of the tongue bunches up or pulls back during singing, it constricts the pharyngeal space and forces the sound wave backward. This constriction often correlates with a lowered soft palate, funneling acoustic energy toward the nasal cavity.
To counteract this, singers should practice keeping the tongue flat and relaxed, with the tip resting gently behind the bottom front teeth, especially on open vowels. This posture maximizes the space in the oral cavity, allowing the sound to resonate freely forward. Maintaining a relaxed jaw and throat further prevents the tongue from tensing and elevating toward the palate.
Shifting the focus of resonance, often termed “placement,” also helps draw the sound away from the nasal area. Singers should mentally aim to place the sound in the “mask” of the face, visualizing the sound vibrating around the cheekbones, the bridge of the nose, and behind the eyes. This frontal placement encourages the sound wave to travel through the mouth and utilize the hard surfaces of the face for bright, clear resonance. The sensation is one of “singing forward.”
The foundation of all healthy singing relies heavily on consistent breath management. Insufficient or shallow breath support can cause singers to introduce tension in the throat and neck muscles to compensate for lack of power. This tension often extends to the soft palate, causing it to inadvertently drop or become sluggish. Proper diaphragmatic breathing provides a steady, controlled airflow that removes the need for throat tension, allowing the soft palate to operate freely and effectively seal the nasal passage.