Estill Voice TrainingThe woman behind this vocal technique is Josephine Antoinette Estill, born April 25, 1921 in Donora, Pennsylvania in America. She was a classical singer who sang on the radio. In 1953 she did a tour Europe and has been include in The Hague and Amsterdam. After this tour she decided to study at Case Western Reserve University in Cleveland, Ohio. At this university, she was fascinated by the science on voting. In 1972 she was appointed instructor of voice the voice of the ENT Department of theUpstate Medical Center in Syracase, New York. Here she has worked with various researchers. They developed a training in which one is able to produce several kinds of sounds on a healthy way. It is not only the voice of great help, speech therapists also get to work with Estill Voice Training.

WorkoutIn Estill Voice Training is about that through viewing the vocal cords and related, allseparate parts of the vocal tract will train separately. There are three main components: power, source and filter, also the lungs, vocal cords and the vocal tract. Estill Voice Training is based on the fact that all loose to train elements of singing separately. Thus a distinction is made between thirteen parts. These thirteen parts can often put back several positions in turn and after much training you controlling each part separately and put in all possible positions. Then you need to ensure that this thirteen parts can be used at once or just a few parts can use and not just some used. One looks with a set by Estill Voice Training term effort number "how much one can use the parts to create a singing

voice. 

The thirteen partsOn the previous page you saw the diagram of Estill Voice Training and according to this schedule go to work them. As already already been said, does one work with thirteen different components that they are going to learn piece by piece control. All of these thirteen parts can be used in different ways and they can therefore Multiple positions put. We take the pieces one by and their various positions.

The true vocal cords (True Vocal Folds 1 (On / Off)) involves the coordination of the open and close of the vocal folds. The aspirated (= aspirate) are the vocal cords open first and then air gets through, after which theclose vocal cords. In glottaal (= glottal) the vocal cords opened by the air. This position of the vocal cords can actually talk forever. The last position is the simultaneous (= smooth) where the opening of the vocal cords and the air are gradually.

The false vocal cords (False Vocal Folds) also have multiple positions. They may be closed (= constrict), half open (= mid) or fully open (= retract) are. Both Complete Vocal Technique and Estill Voice Training contend with the problem the false vocal cords to go. closed while singing This is explained by closing the false vocal cords when force is put or aroused be, for example, when you lift something heavy. At that time, your body strength needed and from reflex close the skin flaps above the true vocal cords. At that time you can not breathe or talkso your body can put significant force. However, singing is also working. So when someone is singing, like the false vocal cords close. To avoid this reflex, the false vocal cords to sing on a middle position, then there is nothing wrong.

Under vocal cord mass (True Vocal Folds 2 (Body Cover)) we mean forms the true vocal cords can take. They can be thick (= thick), thin (= thin), rigid (= Stiff) and slack (slack =) are. These four different forms provide another sound and also determine pitch. With a thicker vocal cord mass can be

relatively sing much lower than with a thin vocal cord mass. Stiff or floppy vocal cords determine the ease with which can be sung.

The tilting of the thyroid cartilage (Thyroid Cartilage) affects the pitch and the quality and intensity of the sound. When youthyroid cartilage tilts, the vocal folds are longer. The voice pier is therefore longer and can also be created higher tones.

The position of the ring of cartilage (Cricoid Cartilage) is important for, among others cry. Also, the tilting of the ring again cartilage an ultimate effect on the vocal cords and you can sing higher and louder.

The aryepiglotische sphincter , also called the twang pier , is one of the important parts of Estill Voice Training. As we have already treated this muscle will ensure that your voice gets a sharper edge. When the sphincter withdraws, the sharp increase of (= narrow) and relaxation the sphincter, the sharpness decrease to loss (= wide).

The positions of the larynx (larynx) in men have been easy to recognize. When a man is always talking, higher is the larynx the Adam's apple that is good to see, up. The lower the man talks, the lower the larynx with the Adam's apple goes down. In women's larynx naturally already quite high, and then explained why women in the larynx is often seen not or barely. Therefore, the vocal register of a woman also naturally higher.

The tongue plays a role in the making of letters and the opening and closing of the mouth and nasal cavity. Not only does the tongue plays a role in changing the resonance, the tabs can also provide greater flexibility of therange. When the tongue layer (= low) is held, the resonance is the greatest. Held in the middle (= mid) sounds less resonance and high positioning (= High) is the smallest resonance. In addition, you have the contraction (= compress) of the tongue and As a result, the resonance increases again. This in combination with the high, medium and low positioning.

The palate / palate consists of the soft palate and hardpalate. The hard palate is the front of the mouth in its socket. This you can not change or move and works as a passive articulator and does not count as part of this singing technique. Furthermore, the change in the mouth hard palate in the soft palate. The palate is indicated by the uvula, the spur of the soft palate. The soft palate changed all the time and position can be as create different sounds. When the palate high (= high) is, you speak of an oral sound. There is only air out through the mouth at 'mid' there is nasal and then goes off air through the nose and oral cavity. At low (= low) the palate at the back of the tongue which only sounds sound is as-ng.

As we already know is the jaw also an important part of singing. A protruded jaw causes the constriction is going to tighten more making it harder to sing. The muscles that constrict are located in your neck.  Therefore, it is important that the jaw in its place, anddoes not go forward. At least, not going too far forward.

The lips play a subtle role in prolonging the voice channel. One can the lips protrude (= protrude) and ensures that the sound sounds rounder. You do for example, if you 'o' sound will get.'s as round as possible They cankeep average, so to speak, in a conversational position or you can open keep making the sound sounds more spacious and you can sing louder.

The head-neck position is a simple part to master but veryimportant to be able to sing well. With your chin on your chest or your head in your neck lay is not the ideal position to be able to sing. Therefore, it is important thatthe head, neck and torso in a vertical line stand.

Torso is a good posture that a person must take while singing. A good attitude stabilizes the body itself, and the breathing.

As you can see EVT is both the voice channel as on the larynx. Each component is then a certain position so there are more possibilities. You can, as it were all combined and was described as follows by Ms. Hagemann: "Suppose, your voice is a lego house. All these stones are placed in a row, you isolate each stone. So those are the thirteen parts. Each part do you train separately, so each particle forth several positions, such as the false vocal cords. They can take three positions: mid, contsticted or retracted (middle position, contracted / closed or withdrawn). If you have these three positions well trained and do all other components, you can build with all the lego blocks several houses. If you are not satisfied, you can a position at a component change so you get something else, even if you change only one thing. "18The six voice qualitiesThe six voice qualities are examples of what you can to produce sounds when you take control of all 've gotten. thirteen parts The examples are as we say, so one can always still small adjustments learned these qualities slightly change. The six voice qualities Estill base considered are the following:

-Speech: The voice quality. It is the sound that you speak, but where you are now sing along. At speech, it is important that you understand and you must be able to talk hard. Of course, this in a healthy way. In this quality than a neutral position of the larynx important and thick vocal cords for the neutral tone of voice.-Falsetto Stivo: This quality is similar to male falsetto but is not that falsetto is in fact something else. Women can use different sounds in falsetto, in height. Men have many fewer opportunities in height because the mechanism (read larynx) are structured. Men can of course much lower in falsetto than women. Falsetto Stivo do with plenty of air and open vocal cords, and preferably has a classic tone sounds a bit like opera.-Sob (cry) also has a classic sound. As you name it does it think of someone as sayingis crying. Sob is most similar to operetta. The voice quality is created by means ofthe use of thin vocal cords and a layer positioned larynx. However, there is a difference between Sob and Cry; Sob refers to a lower position of the larynx, while a somewhat higher Cry larynx position.-Twang has, as we have discussed so to do with the sharpness earlier. Twang is a keyto be heard in rooms where acoustic amplification with a microphone of applies. By using this, one can make use twang are audible and one can also safely talk without shouting and louder as the adverse effects of the brands. The can therefore in two ways, nasally or orally.-Opera is a complex with the use of mainly the speech quality and twang quality. Atopera is a mainly to keep the larynx low and tilt the thyroid cartilage so you yet the height can.-Belting: Known from the musicals and pop music is the last voice quality. It is a controlled cry, which means you the vocal cords do not hurt them. It is a kind of combination of the speech and twang quality, a tilted thyroid cartilage and high positioned larynx.

It already shows that it is therefore a combination of loudness (speech quality and twang quality) and ability to hit treble (high tilted thyroid cartilage and larynx). In addition to the shout it lends itself well to sing what so overused word in pop music and musicals. At musicals is widely used by highlights of a song. Belting requires a lot of energy.