The Problem of Nasality in Singing

Sometimes, a singer may not realize he has this problem. This is because what one hears of his voice is really different from what another person hears. When we speak, we hear our own voice as it was transmitted through our head to our hearing mechanisms. One sure way to really hear yourself is by recording. Upon playback one will be surprised to hear a voice completely different from what he usually hears of himself.

When I was younger, I recorded my voice in the bathroom thinking it would sound very good with the acoustics. But I was really embarrassed when my cousin hit the playback in front of some other people, because it is not as good as I have thought. I thought it sounds weird because it doesn't sound like, well, me.

I always say to the choir that if one is singing solo, I wouldn't really mind if he is not singing the way I want them to. After all, many solo singers can get away with it. I am even surprised that there are singers who get too much attention and adoration (and emulation) and fame for singing that way. Well, I have long proven that fame doesn't necessarily translate to excellence. Though I would rather not name names so as to avoid hate mails and nasty comments. Death threats even. :)

In the choral setting, nasality is unacceptable. Unless they are to perform a song of a novelty singer. I recall the Madz (Philippine Madrigal singers) performing some numbers on this genre, with a soloist mimicking the artist. But of course, the Madz can get away with anything. They can even create a forest ambience by making animal and insect sounds or what have you. Very good choir indeed.

But as I was saying, nasality has no place in the choir. To correct it, I advise singers to be acquainted with the feelings of speaking or singing nasally, and conversely, the feelings of singing correctly. Years ago, I read a book entitled "The Complete Guide to Choral Singing" (I am not sure if I got the title 100% correct, pardon me) and I find the lesson pertaining this problem to be very effective.

"Ng-ahh"

Say the syllables a few times. You will notice that as you say "Ng" (as in "hung"), your throat closes completely and your tongue shortens; thus closing the passage. Say it longer. See?

Upon uttering "Ahh" we notice that the throat reopens and tongue rests back to the teeth. Say it longer. There. Now, say it one after the other. Then try to remember the feelings.

Now repeat the procedure but this time hum these syllables to the tune of say, "Somewhere Over the Rainbow". Compare the feelings. That's one way to correct it.

Vocalize with the tongue resting behind your lower teeth. Make a conscious effort to slightly feel the teeth as you sing. As I always say, PMP (Practice Makes Permanent)! I'm sure you are familiar with some of the common vocalization as

"mee-eeh-eeh-eeh-hah-hah-hah-hah-hah-hah-hah-hah-hah"

(to the tune of 16do-16re-16mi-16fa-8so-8so-8so-8so-16so-16fa-16mi-16re-16do).

With '16' and '8' representing the sixteenth and eighth notes respectively, and 'do,re, mi, etc.' representing the so-fa syllables; I'm sure you are familiar with that.

Vocalize with the tongue hanging out of the mouth, never allowing it to slip back in. This is another way of dealing with the problem. Do it often, and see if there is any improvement. So, there.