THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THREE ...

CHAPTER 3
THE INDIRECT APPROACH
Most teachers who are aware of the importance of a low laryngeal position approach
the subject indirectly. Perhaps they prefer this approach because, as Callaghan suggests, “A
conscious control of the larynx is seen by many teachers as impossible or undesirable.” 53
Whatever the reason, teachers tend either to ignore laryngeal positioning entirely, or to focus
on other aspects of vocal technique that will produce a stabilized larynx inadvertently. In
fact, without actually focusing on the larynx by speaking of it specifically, or physically
touching the area, laryngeal position can be addressed. Confronting the issue of laryngeal
position in this way is called the indirect approach.
The indirect approach centers on establishing good singing posture and diaphragmatic
breathing, and releasing tension of the tongue, jaw, and neck in order to allow the larynx to
relax into its comfortably low position. By focusing on these basic issues, many, if not most
singers, will find laryngeal stability. This chapter includes a brief description of the extrinsic
musculature of the larynx followed by a discussion of several methods and exercises geared
toward lowering the laryngeal position without directly focusing on the larynx.
Extrinsic Muscles
The group of muscles known as the extrinsic muscles of the larynx plays an important
role in classical singing. The extrinsic muscles are those muscles of the tongue, jaw, and
53
Callaghan, “The Singer’s Formant,” 7.
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