​   There has been a lot of discussion about facemask requirements. 
   Are they useful?  We know, objectively, that they are - Studies have revealed that not only are N95 types masks useful, but so are homemade masks (1,2). Subjectively, we understand this: would you undergo surgery if your surgical team was not wearing face masks?
 
   Are laws mandating the use of masks, when out in public, Constitutionally flawed? Or is a shop owner’s requirement of wearing  a mask on private property a violation of a person’s rights? I’m mostly leaving those question to lawyers, but I would guess neither. As a society, we seem to accept the custom to wear "appropriate" clothing. Even here in Hawaii where shoes are much less required than the Mainland, there are standards which reflect a consideration towards others. Private businesses, public buildings, churches, parks, and schools, all have clothing requirements for a reason.
 
   Will the use of face masks injure a person in same way? This point is still widely 'debated' by laymen who are not associated with the medical field. Some claim that they should be excused from wearing a mask due to under lying respiratory conditions. Overall the idea of injury by the mask seems to be the important question as clusters of COVID-19 cases are erupting at gyms and bars in Hawaii. One remarkable interview of a gym owner struck me as troublesome: In describing measures taken to ensure that the disease was not spread, the gentleman mentioned that everyone wears masks except during exercise. That single statement seemed to encapsulated the idea that wearing a mask is potentially harmful.
   In comparison, medical professionals, who may include  doctors, nurses, as well as, therapists, technicians, medical cleaners, secretaries, and assistants don't debate the safety of face masks. These professionals often perform strenuous tasks for long periods while masked. One often-cited study (3) did find that there is more discomfort as the heart rate increased while wearing an N95 mask, the type worn by these professionals. However the conclusions seemed to emphasize that this was a discomfort issue and NOT a safety issue. I have not found a study that identifies home made face masks as problematic in the same way. In fact, there did not appear to be any reputable research which found the use of face masks dangerous for those with diagnosed respiratory problems. Indeed some medical professionals who customarily wear face masks all day, also have respiratory disorders. With this in mind one doctor on Facebook posted a ‘viral’ post about the non-existence of anyone who died from wearing a mask all day in his 40-year career.
 
   Wearing a mask is uncomfortable to be sure; and some with genuine respiratory problems might need to contact their doctor for guidance if they experience problems wearing a mask, but I wanted to explore what happens when a person wears a mask and exercises, speaks, and sings. I thought it would be ideal to use a person who has a diagnosis of a respiratory condition, so I selected myself as the subject.

Assertion
   The claim, as commonly referenced, states that a 'typical' human would have trouble breathing, and subsequently intake a lower level of oxygen, by wearing a cloth face mask. 
 
Hypothesis
   Given the above, it would follow that I, a human with moderate to severe asthma, would also have trouble breathing. As such, this lowered oxygen intake would be matched by a lower blood oxygen saturation level either during, or after, exercise. The subject should also experience clinical signs of distress which might include wheezing (whistling sound made while breathing), shortness of breath, chest tightness or pain, or coughing.

​Blood Saturation levels while exercising
   Like the mouse in Lara Numeroff’s book, I started with one procedure and it evolved into a series of tasks. The first question was this:  As a person who has moderate to severe asthma would I have significantly more difficulty breathing with a facemask while exercising. So, with an assistant and a handy pulse oximeter, I set out to measure the average blood oxygen level as measured by the ingenious tool.
 
   A pulse oximeter uses light to measure the amount of oxygen saturation within the hemoglobin coursing through the arteries. A normal reading showing typical function are 95% and above. The error rate is plus or minus 2%, which means any reading has a likelihood of being within 2% of the true measure (e.g. 95% might actually be 93% or 97%). This 2% margin of error will be important to remember, because all of my findings fell within the margin error.
 
   I also noted my subjective feelings which are important to observe in those with respiratory disorders. Asthmatics are well known for having great oxygen levels, but clinical signs of breathing trouble such as coughing, wheezing, chest pressure or pain, and of course a feeling of shortness of breath. Here is the intro video which shows the equipment and procedure:

Here is the time lapsed video collecting the data:

   After compiling the data, we realized we could understand the implications better if we compared my masked performance to an unmasked performance. So, the next week with occasional assistance I did the procedure again.
 
    I did feel more discomfort while wearing a mask, but not by much. In neither exercise sessions, did I feel any clinical signs of an asthma attack. The pulse oximeter measurements found that my blood saturation levels, while masked, averaged 98.6% at rest, and 96.6%, during exercise. During the highest level of exertion (around 20 minutes) the masked reading  dipped below the “normal” range of 95%-100% once (93%). During the unmasked exercise session, my blood saturation levels were one percentage higher 97.6%, during exercise and the lowest reading was 96% during the same intense section of exercise. At rest my blood saturation rate was again 98.6%. Similarly to the masked portion of the experiement, I did not experience any symptoms of respiratory distress. With a margin of error of 2%, a 1% difference is probably not reliable and potentially shows no real difference between wearing mask, and not wearing a mask. The low point of blood saturation might be significant as the difference was 3% or outside of the margin of error. However, the limitations of a single case study, means we can't really make a broader generalization, With that in mind, I hope others, will follow the same procedure, or even better designed experiment, in order to be confident of the findings. 
 
Blood saturation levels while singing and speaking
    In order to standardize the measurement points, I divided the eponymous Rainbow Passage (4) into relatively even sections (40-50 syllables each). Taking a baseline first, I then recorded myself reciting the Rainbow Passage with the meter on my finger and recorded the number after reading the section. I read the whole passage first without a mask and then with a mask. After averaging I can report that the percentage of oxygen saturation for unmasked was 98.36% and masked was 97.90%. A difference of .46% is again, probably not a meaningful difference.
 
    Interestingly, as if to emphasize the relatively stable oxygen levels in masked and non-masked vocal tasks, my blood saturation levels were higher for masked singing (97.38) when compared to unmasked singing (97.22). Singing with a mask did present a problem in the types of exercises I could perform for my singing task. Rather than using a song, an exercise was used in an attempt to keep the conditions as close to the same as possible. The first choice was a lip trill or lip buzz, which uses a stream of air to blow the lips apart in a light flopping motion forwards. The mask impeded the movement of the lips. An alternate exercise was the use of the of an octave jump followed by a quick run of a descending scale back to the starting note on the syllables ki-u-ki-u.

In a word? No. Masks do not cause oxygen deprivation. 
    For this singer and vocologist, there was no significant difference in my oxygen levels as measured objectively using the pulse oximeter, either in my performance of exercise or vocal tasks, while wearing a mask compared to not wearing a mask. If you are very uncomfortable wearing a mask while performing exercise or vocal tasks, you might want to consider performing these tasks in a non-public place.

​Here in Hawaii, showing aloha to each other is essential no matter the conditions. Of course, if you are short of breath or experiencing any respiratory difficulties you should follow up with a doctor right away. I will be writing a more detailed account. If you are interested send me a line. Thanks for reading this post and I hope it adds to the conversation. Stay safe, and Hawaii Voice and Speech Studio is ready to help you with on-line, or in person to help you with all your voice and speech needs.

[1] Davies A, Thompson KA, Giri K, Kafatos G, Walker J, Bennett A. Testing the efficacy of homemade masks: would they protect in an influenza pandemic?. Disaster Med Public Health Prep. 2013;7(4):413-418. doi:10.1017/dmp.2013.43

[2] MacIntyre, C. R., & Chughtai, A. A. (2020). A rapid systematic review of the efficacy of face masks and respirators against coronaviruses and other respiratory transmissible viruses for the community, healthcare workers and sick patients. International journal of nursing studies, 108, 103629. https://doi.org/10.1016/j.ijnurstu.2020.103629

[3] Li, Y., Tokura, H., Guo, Y. P., Wong, A. S., Wong, T., Chung, J., & Newton, E. (2005). Effects of wearing N95 and surgical facemasks on heart rate, thermal stress and subjective sensations. International archives of occupational and environmental health, 78(6), 501–509. https://doi.org/10.1007/s00420-004-0584-4
​
​[4] https://www.dialectsarchive.com/the-rainbow-passage

At this point in time, there is no truly safe way to allow public performance of the voice [2]. The act of vocalizing involves the coordination of the respiratory system, the vocal folds and supporting muscles, and the vocal tract (the areas from the larynx to the throat, and oral cavity.) The air pressure produced while vocalizing, can equal that of a strong cough. Both coughing, singing, and loud speaking can produce a long stream of aerosols reaching well over the recommended six feet of “social distance.” The otolaryngologist, Dr. Halstead, of the Performing Arts Medical Association, along with Dr. Donald Milton, an infectious bio-aerosol specialist at the University of Maryland, laid out the problems during a talk addressed to the memberships of the National Association for the Teachers of Singing, Chorus America, and The American Choral Directors Association. They included:

• There are no spacing solutions that eliminate risk. 
• Even in the best of conditions, the virus can “…travel as far as 16 feet.”
• Cloth masks, besides being impractical for performance, can still allow virus particles to escape. Other masks must be fitted properly to ensure an effective fit that forms a barrier for the virus.
• Finally, there is insufficient testing, and the testing that we have has too large a rate of false negatives.

The ultimate solution? According to Dr. Halstead “….An effective vaccine…and drug treatments that are 95% effective.” 

​While grieving and sadness is certainly an expected reaction from the voice community, could it be possible to find the small wonders that come from human tribulations? Can we find those ideas that flower into a sublime works of art, as happened in Italy with the blooming of the Renaissance from the ashes of the Black Plague. While Heinrich Schütz wanted to write operas, he was forced to write music that had a reduced complement of musicians. But what a collection of music it is. He became known for his ability to create music which evoked images of the words as well as intense feelings. Would he have achieved that without his struggles to create from a situation he could not control?

In order to return to communal singing, and speaking, here are some principles to keep in mind.

• The group has to be small—no more than three singers at a time.
• A group needs to agree to rules and abide by those rules.
• Those rules should include home screening and testing, when available, then a re-screening at the door.
• Even in the ideal conditions, all must understand, that there is a risk.
• Once a vocalist is “through the door,” in order to keep everyone safe, try holding rehearsal outside, with vocalists at least 6 feet away from each other, and facing the same way (Dr. Halstead suggested ensuring the wind was at the singers’ backs.)
• Avoid loud vocalization, as this increases the output of respiratory droplets [4].
• Take more frequent breaths to avoid the use of residual air (the last bits of air you can use).

 
These are small steps, but it’s one possible beginning.

How will COVID-19 ultimately impact music and the other vocal arts, is a secret to us mortals. Vocal performance is too precious a resource to keep out of the public for long. Even Heinrich Schütz understood that if he couldn’t create what he wanted, he should still create. Later on, in the same dedication, he wrote “But meanwhile, so that my God-given talent in this noble art does not remain totally idle but can create some small offering” [5]. What will your small offering be?

• 'Acapella from PicPlayPost'. Mobile app, iphone and android.​
  

More coming soon! Have a suggestion, send it to us or comment below!

[1] Burkholder, J. P., Grout, D. J., & Palisca, C. V. (2014). A history of Western music (9th ed.). New York: W. W. Norton & Company.
[2] Link: https://www.middleclassartist.com/post/nats-panel-of-experts-lays-out-sobering-future-for-singers-no-vaccine-no-safe-public-singing
[3] Wan, C. Y., Rüber, T., Hohmann, A., & Schlaug, G. (2010). The Therapeutic Effects of Singing in Neurological Disorders. Music perception, 27(4), 287–295. https://doi.org/10.1525/mp.2010.27.4.287
[4] Link: https://www.sltrib.com/opinion/commentary/2020/05/12/commentary-turn-down/?fbclid=IwAR2kperKphssrM_2rpt59vgBZCLsSlmWUob7erTPBA4AZ8ekXWdJeMY-DZQ
[5] Grout et al.

There are a lot of reasons why your voice might be tiring in your newly minted home office. While research is not thorough in this area, we do know that Call Center Agents[i] are some of the most at risk for voice disorders; and in a way, we all became Call Center Agents practically overnight.
Risk factors that seem to harm the Call Center Agents voices tend to fall into the categories of ambient noise, ergonomics, and vocal load (stress put on the voice when speaking for long periods of time)[ii]. I am proposing a fourth one--limited frequency range of microphones and speakers. Now I am not proposing limited loudness of the speakers, because often times it is not the volume of what we are saying that is the problem, but the inability to comprehend what is being said. Let’s look at the easy factors first.

So everyone in your family is home practicing social distancing and maybe you have the luxury of a separate room for everyone, but what I’m seeing from my perch as a tele-singing teacher and a tele-speech therapist, is everyone in the same room. We humans like to self-monitor and synchronize our behaviors. A French Otolaryngologist named Etienne Lombard recognized that we will automatically raise our voices to increase the audibility of our own voices. It doesn’t matter if our communication partner can hear us, if we can’t hear ourselves we raise the volume and the vocal effort. This works not only in humans by the way; the behavior has been observed in birds, cats, marmosets, and monkeys.[iii]Why has no one researched this in dogs, it would explain a lot!
A simple fix might be to find a quieter place. If that is not possible,  being aware of how loud you are speaking has never been easier if you are armed with a smart phone and/or an Apple Watch. Apple Watch 4 and up have a simple sound meter. Using the application try to keep your voice no louder than 65 decibels. If you have no Apple Watch,  there are many free decibel meters in both Android and Apple App stores. It doesn’t have to be a scientific Class 2 sound level meter to provide some kind of visual feedback to remind you to modulate the tendency to speak louder to match the environments sound level.

The human ear can perceive a frequency range of 20 Hertz(vibrations per second) up to as high as 20,000 Hertz(hz). If only our microphone could do the same! In a very unscientific study, I tested my internal microphone of my Mac[iv]  and found only the following frequencies 2,000 Hz, 4,000 Hz, 6,400 Hz., 10,000 Hz. And 16,000 Hz were detected. In contrast the human male tends to speak between 85 and 180 Hz, the average human female from 165-255 Hz. The story of how our brain perceives voices transmitted with such a narrow frequency range is for another blog. The fix, is obviously use an external microphone, one with a greater frequency range. However, this might not be possible due to the closures of stores where one would purchase a good microphone. Also, even those of us with external microphones have found that it can be a guessing game of whether the internet connection will support the audio signal. In this case instead of speaking louder speaking slower and with crisper , but not exaggerated articulation may help in decreasing the vocal effort. This is particularly important for ending and beginning consonants.

​In summary, if you are finding that you are suffering from voice fatigue, now that you are working from home, here are some simple fixes: ensure you are not attempting to speak over background noise, look at how you are sitting or standing while you are speaking into your telephone, cellphone, or internet connected device, take breaks to reset your voice, and consider using a better external microphone. Be well! We will get through this.

The chart below is often used as a measure of how a child is doing in speech acquisition. Often times the parent is shown the bar for the /r/ and told: yes, their seven-year-old son has no /r/ at all but since we don’t expect /r/ to come until age 8 it’s okay to wait before intervening. However, let me put this another way. This chart shows that 50% of children master /r/ at age 3 and 90% MASTER /r/ at age 8. This is distinctly different than 50% of the time, or having the initial position, or not having started saying /r/. Mastery means they can have a conversation without the listener thinking, “Aw, he still sounds so cute, like a toddler.”

Simply put, according to our best evidence it is not typical at all for a child to struggle with a sound, even one as tricky as an /r/, at age 8.

1. Freddie Mercury, might have had extra teeth. Whether he did have more than 32 teeth, or whether he just had a crowded upper jaw, it resulted in a rather severe overbite. While we don’t have his dental records, we do have evidence of the overbite in many pictures, despite his attempts to camouflage this facial feature.

2. We know his voice is remarkable enough that voice scientists around the world have analyzed recordings of his speaking and singing voice, in an attempt to “unlock its secrets.” A study, performed by Herbst, Hertegard, et al, and published in the Logopedics Phoniatrics Vocology in 2017 found a fundamental frequency typical of a baritone voice in samples of Freddie speaking, with an average of 117 Hertz(Hz.) https://doi.org/10.3109/14015439.2016.1156737
After analyzing recordings of Freddie Mercury singing, the scientists tracked 37 semitones ranging from F#2 92 Hertz(Hz), or the second F#sharp below middle C, to G5 784(Hz),the second G above middle C. Other data on his range was considered unreliable (possibly studio effects). This range would be described in vocal pedgogy, as three octaves plus one more semitone. My interpretation, and the scientists who performed the analysis, is that if we must put Freddie Mercury in a Fach(box), he was probably a baritone with a really good high range. However, range is usually a product of the size of your vocal folds, and their flexibility, NOT the vocal tract (pathway which shapes the sounds as it moves through your body and out your mouth.)There is no reason to believe teeth would affect the range of a vocalist.

3. His vibrato is considered relatively fast for a more modern singer at 7.0 Hz. However, this is actually the rate that Enrico Caruso appeared to have used when his recordings are similarly analyzed(https://www.earlymusicamerica.org/wp-content/uploads/2015/06/VibratoWars-1.pdf). Please see the photograph above of this remarkable singer, (also listen to his recordings.) There does not seem to be an apparent overbite in any of his images. Of course, vibrato itself is never produced in the area of the mouth. It is thought to be a reflex between two sets of muscles when the vocal mechanism is at peak performance
( I.TitzeJ Acoust Soc Am doi/abs/10.1121/1.1434945?journalCode=jas). In other literature you may find discussions in regards to in what ways the ratio of airflow below the vocal folds, and above the vocal folds affect the rate of vibrato. There are also ongoing discussions on just how intentional vibrato is. Either way, there are no serious discussions about normal vibrato being affected by overbite, underbite, or teeth in general.

​4. Mercury did use his false vocal folds in his recordings, just as many other singers who produce the rock “growl” did, and still do going back to the early days of recorded blues. In other words, we can’t attribute vocalization using the false vocal folds as a function of his overbite. It was merely a technique used by a multitude of singers and taught by vocal teachers specializing in rock singing.

The Verdict
So did his overbite affect his voice? My opinion is—probably. How, if not with vibrato or use of his vocal folds, you ask? In a word…resonance. Just like other wind instruments, human vocalization is produced by a source. In wind instruments that source is a mouthpiece in which air is blown, and in humans that source is the vocal folds. (I. TitzeJ Acoust Soc Am10.1121/1.2832337)
The sound that is produced, at the vocal folds, is then propelled and bounced around a maze, which grossly consists of the throat and the mouth. Each person’s mouth and throat is unique, and this uniqueness produces the resonance or timbre or overall sound of each individual. Resonance is what makes you say "I recognize that voice!" While you might sound similar to a close relative, you do not sound exactly the same due to the tiny differences in a throat or a mouth. So Freddie Mercury, might have sounded different sounding, if he had no overbite, because it might have changed the shape of his mouth. It would not have affected his vibrato or his usage of false vocal folds.

Closing Argument
While, we don’t have evidence to support the claims that Freddie Mercury is simply a product of dental malocclusion; we do have the evidence to show that Freddie used his instrument in wonderfully creative ways. His instrument brought so much joy to his fans, that 25 years after his death, they are still debating the structure of his gift, perhaps to learn how they can sing as beautifully themselves.

​Case Closed!

​1. Maintain good vocal hygiene:
​This is a fancy way of saying maintain your instrument. The keys to maintaining your instrument include:

• Hydration
• Moderating  caffeine and alcohol intake
• Establishing sufficient  sleep patterns
• Restricting frequency of shouting or whispering

3. Articulate the ends of your sentences:
Really! This can be a way to slow down your speech and increase your listeners    comprehension, which may reduce the for repetitions.
 
4.  Make sure your voice resonates in your head:
A voice with forward resonance is less likely to cause the feeling of unease in the throat.
If you have never felt this sound while you are speaking, try humming easily. Once you feel the hum somewhere in your face, or the hard part of the roof of your mouth, open your mouth and say 'ee'.  Hopefully the sound still vibrates in your head somewhere. This is the tone that allows a speaker to sound louder than she actually is at times. It also promotes healthy vibrations in the vocal folds. Journal of Voice, Volume 21 , Issue 4 , 415 - 425
 
5.  Breathe:
Many teachers, and other speakers, are known for not stopping to take a breath. This is actually a very unhealthy behavior. As you run out of air, your vocal folds and accessory muscles tend to squeeze together to try to make use of a lower supply of air. Squeezing then turns into muscle fatigue. Stopping to take a catch breath gives your voice a chance to produce a healthier tone.

If you try these techniques but still find your voice is suffering, it might be time to look at: 
Voice Therapy:
Yes, I am suggesting therapy by a speech-language pathologist(SLP) who has good voice training. An objective therapist may be able to help you find ways to alleviate your vocal problems.
           
School in-service addressing voice—This may be something that an outside SLP does rather than the school’s overworked SLP. Sometimes the school SLP might not has not studied the intricacies of voice dynamics since grad school.
 
Again, if you find that you suffer from changes in your voice that are chronic or  bothersome, it is important to seek medical attention to determine if they don’t stem from a physiological condition. The good news is that therapy, increased vocal hygiene, and, in some cases, amplification are manageable techniques for  increasing the teacher’s satisfaction with his or her voice. ​If you need more help or information please reach out using the contact link, emailing at hawaiivocalstudio@gmail.com, sending a message on our FaceBook page HIspeechstudio or sending us a tweet @hispeechstudio.

​

What's in a name? Shakesphere once asked. Well today a name of a business not only needs to reflect what that business does and what makes it special; it also needs to be easy to find in social media! with that in mind we are announcing a name streamline. While we will always be the place in Hawaii to find comprehensive language, speech, and voice services, you can now find us on Twitter, Instagram, and soon Facebook as hispeechstudio. 

Our list of services still include:
Accent reduction/adjustment
Articulation therapy
Speech therapy
Language therapy
Voice therapy
Voice Lessons
Public Speaking 
Transgender voice services 
@hispeechstudio
www.instagram.com/hispeechstudio/

I picked ABCD to stand for a variety of concepts that are needed to understand what resonance really is and how we can change it. A stands for the throat and the mouth where the air flows in and out. B stands for how vibrations are made by the vocal folds and then are changed in the throat and mouth. C stands for the Combinations of vibrations that happen as we actively change the space in our mouth and throat. These combinations create the unique sounds that makes the speaker or singer identifiable. Finally, D stands for the Destination where we “feel” these vibrations.

AIRWAYS
Whenever a sound is created that pitch is known as the Fundamental Frequency. It is the lowest pitch in a pattern that can be measured as multiples of the original pitch in an idealized model. If I produce a pitch on a string that vibrates 100 times a second, that then influences the “air” molecules to vibrate 100 times a second. This then causes another pitch which vibrates at 200 times a second, and then another pitch which vibrates at 400 times a second. Theoretically this happens forever. These are called Harmonics. Your vocal folds play the part of this string. For example, if a baritone happens to produce a pitch of 100 vibrations per second there will then be harmonics that follow that pattern of 100, 200, 400. (This is a simplified pattern. For a more complete pattern of harmonics please see Tontechnick-Rechner.)

BOUNCING VIBRATIONS
The vocal tract is composed of basically two airways: the throat and the mouth (yes the nose plays a role at times, but for simplification I am leaving out the nose.) This is where these harmonics are first sent. This is also where something really amazing happens. Each of these tubes have their own frequency. Just as a coke bottle or a crystal glass has a certain “ring”, each tube takes the original pitch as well as the harmonics and changes it. These are known arguably, as overtones. They are overtones and NOT harmonics because the tube that produces them changes the pitch so they may not be exact multiples of the original pitch. Our bass who produced a 100 vibrations a second (approximately a sharp G2 on a piano), has a harmonic of 200, but when that tone hits the throat there might be an overtone of 215 vibrations per second. The throat isn’t the only pipe there is that changes that pitch. The sound also comes out of the mouth (again, yes sometimes the nose a bit, but mostly the mouth). The mouth also has its own vibration so our imaginary bass with his vocal folds vibrating at 100, which produces a pitch, which then produces a series of harmonics, also has a “throat” overtone of 215 and a “mouth” overtone of maybe 436. Remember these numbers refer to Hertz or more correctly vibrations per second. The original pitch is always the lowest. The throat will be lower than the mouth, because generally it is longer and will have a lower “frequency.” This leads us to the C of the ABCDs of Resonance.

COMBINATIONS of VIBRATIONS
Now we get to the fun part. Dr. Seuss was right when he wrote “…there is no one who is more youer, than you!” While we all know what a human looks like and what a vocal tract should look like, each human has slight differences. For instance, the range of normal for the human pharynx is 12-14 centimeters (Granger). Add to that the magnificent variations in a mouth, which can be produced not only by the actual skeletal structure, but also, by size and placement of the teeth; the size and placement of the tongue, lips, and palate; and you have probably an infinitesimal number combinations in the structure of a human’s vocal tract. These structural variations produce our audio palette, if you will. Each pitch is colored by the unique pattern of resonance or vibrations that your particular combination of vocal fold, pharynx, and mouth (oral cavity) can produce; but wait there’s more!

We can change our mouths (and our throats a bit), but mostly our mouths. We have lips which can make mouths bigger or longer, or wider. We have a tongue which we can move accordingly to decrease the space in our mouths or increase it. We can even raise and lift our soft palate to lengthen our pharynx and block off our nose. We do this all the time in order to produce vowels (consonants too but vowels are more important for resonance).
​
Now each time we produce a vowel we then create a different pattern in the overtones. Each vowel has at least three different perceivable resonations which we call formants. The first and lowest formant is produced by the pharynx, the second highest is produced by the mouth. The lower the number of the formant the bigger the space in the throat or mouth. The higher the number the less space is available. For instance, Wikipedia has a chart that says /i/ said as ee as in beet has a first formant of 240 Hertz and a second formant of 2400.

If you say /i/ you will notice your tongue is right behind your teeth. This placement keeps the tongue out of the throat (increasing the resonating area there and decreasing the space in the mouth.) The third formant, not always listed in charts, provides a hint as far as whether the vowel is rounded or unrounded. There are actually more formants per vowel (anywhere between four and six), however, your brain usually needs only the first two to determine what vowel is being produced.

So we have a combination of vibrations which determines what we sound like and what we say. How can we use this though? Overtones are produced because of how we are put together as a human being, and formants are produced because of how we make a vowel, why do singers, voice teachers, and others talk about changing the resonance so much?

DESTINATION
This brings us to the D of resonance. Speakers and singers will often talk about how they “place” their resonance, or the feeling of vibration in their sound. This is very confusing, as the literature uses some of the same terms to describe register with a couple of extra terms. This includes chest resonance, head resonance, mouth Resonance, mask and face resonance, and nose resonance. So the question is “Can you change where you resonate?” The answer, as I understand it, is: Yes sort of….

What we haven’t discussed is that all of these resonance: overtones, harmonics, and formants can be made to be louder or softer, or more correctly amplified or dampened. This is one of the main ways we can affect resonance. How do we do this? We change the shape of our vocal tract of course. Vocalists might not even be aware they are changing the shape, but when asked to loosen up the tongue when singing, or to place your hand on your chest and feel a vibration there we are changing something in our mouths and throats.

Kathy Rundus in her vocal pedagological book Cantabile provides some simple exercises to experience the change of resonance in three dimensions just by shifting the vowels produced.

Try it yourself:

1. Use the stressed neutral vowel /ʌ/ found in words like cut and the /a/ found in words like father.The shift between /ʌ​/ and /a/ illustrates the changes between a small space in the mouth and possibly the throat to a bigger (some teachers use the term taller) space in the mouth.
2. Use the same /a/ but pair it with the /i/ found in the word bee. The shift between /a/ and /i/ changes the tongue from a low back position to a front position.
3. Finds the side to side position using the /a/ and the /æ/ sound found in the word apple. The difference in the two vowels are accomplished by simply broadening the tongue and the mouth (Rundus, 2009 pp.81-82).

Just by changing our vowels we change the “feeling” of where the resonance or vibration happens in our bodies. This change of feeling is often accompanied by a change of sound quality, because of this we can use resonance to change how we are perceived by others without changing pitch. Some other techniques include the lowering the larynx and widening the pharynx as opera singers do (Titze 2000 Principles of Voice Production, pp 265-266). Yodelers tend to narrow the pharynx, and throat singers tend to widen the pharynx, but still manage to tense the larynx in order to access the false vocal folds as seen in this clip.

In summary, resonance is a term which can cause confusion when speaking about the voice. However, understanding the aspects of resonance by remembering the ABCDs of resonance, may help understand your voice, use your voice healthfully, and sometimes change the perception of it by others.

If you are interested in exploring how using resonance may help you when you use your voice as a singer, teacher, or other professional who needs a healthy, functional, and flexible voice; or if you need help in changing how your voice is perceived by others, contact me. Together we can come up with a plan to help you use your voice with congruity in your life.

My point in this story is that laze is by no means a “new” threat.  Those of us who have traveled and hiked Kilauea have heard the warnings of avoiding areas where the lava pours into the ocean, before. Indeed, there have been deaths attributed to exposure to the steam. The difference now seems to be that the areas of Lower Puna and the Ka’u desert have been increasing in population in the past twenty years.  According to non-confirmed reports 20,000 more residents have moved into the area within that time. 
 
The term laze is not a new term. It seems to be in the volcanology literature as far back as 1912 when mentioned in a chemistry textbook by Edward Thorpe. Of course it is possible that the term existed before. The thing to know is laze is dangerous and exposure is potentially fatal. However, the good news is while laze is much more dangerous than its cousin vog;  laze does not have nearly the persistence of vog.  The Hawaii Volcano Observatory reported yesterday (May 20th, 2018) that it can be carried at most 15 miles.  Like vog, it is impossible to get a consistent measure of its chemical and particulate make up due to the constantly changing nature of the lava. Below is an imperfect but simple way of distinguishing between vog and laze.

Lately Hawai’i just isn’t getting a break! We have experienced an unusually active rainy season throughout the islands and now, on the Big Island, there is a significant movement of magma which is threatening to open another rift(http://www.civilbeat.org/2018/05/underground-magma-on-the-move-as-quakes-rattle-volcano/). So I’d like to take a little time to discuss the dangers to the voice from these environmental hazards and what you might be able to handle these hazards.
 
Theoretically  Honolulu, gets an average of 270 days of sunshine a year. (https://www.bestplaces.net/climate/city/hawaii/honolulu)However, we seem to have had an abundance of rain, not sunshine,  of late. Waipa Kaua’i will likely have the dubious honor of the greatest amount of rain falling in a 24 hour period, ever in recorded history (https://weather.com/news/weather/news/2018-04-26-kauai-hawaii-new-us-rainfall-record). While the rest of the eight main islands did not suffer from quite that much rain, there were flash floods, leaving home owners with as much as three feet of water and mud inside. Some of these houses will likely be declared uninhabitable  due to structural damage, but especially with the rainy days still continuing there is another danger—MOLD. 
 
As a tropical island our ambient humidity is between 65-75%. Remember what average means, 50 out of 100 days the humidity will be lower than these numbers, and 50 days out of 100 the humidity will be higher. Mold surrounds us.  This isn’t so much a problem when we are outside but the Centers for Disease Control do recognize that “Exposure to mold or dampness may also lead to development of asthma in some individuals.” Which ones you ask? Just like being allergic to poison ivy, nobody really knows, if or when, a non-allergic person will start reacting to it; but we do know that there are high rates of sensitivity to mold. The best cure for sensitivity to mold, is the prevention of exposure.( https://www.cdc.gov/mold/faqs.htm)The preceding link to the CDC has some ideas of prevention and abatement.  Interestingly this appears to be for all mold. In the past 15-20 years there has been controversy regarding a link between “black mold,” also known as Stachybotrys chatarum  and pulmonary hemorrhage(bleeding in the lungs). However, follow up studies have failed to cporroborate this link. According to the CDC while many molds “can produce toxins…the molds themselves are not toxic, or poisonous.” Regardless, exposure should be limited especially indoors. According to the Mayo clinic  (https://www.mayoclinic.org/diseases-conditions/mold-allergy/symptoms-causes/syc-20351519)symptoms of mold exposure include: sneezing, runny nose, cough and postnasal drip, itchy eyes, nose and throat, watery eyes, and dry and scaly skin. If you believe you have been exposed to mold please follow up with a healthcare worker especially if you are experiencing symptoms. If you are attempting to remove mold from a water damaged areas, check with CDC and OSHA for guidelines for protective equipment.(https://www.osha.gov/SLTC/molds/control.html)
 
Lava is in the news again as our Islands’ current active creator, and destroyer, known as Kilauea Volcano, has been moving a significant amount of magma around. Now magma is molten rock that lives underground. When it breaks surface it is then known as lava. This is a situation that is magnificent and such a temptation to view close up. However, your voice doesn’t want you to. I have previously posted about the dangers of vog, which is a mixture of poisonous gases and particulates(tiny particles) that can cause problems for everyone by irritating the nose and and throat. Vog is created by the exposure of magma to the surface so any increase of lava can mean an increase of vog. While vog can cause problems, especially  to those with compromised immune systems or those with a history of allergies, enough vog and lava can create problems for anyone. While the volcanos of Hawai’i are relatively friendly to humans, there have been times of significant explosions which can hurl tiny particles throughout the air. No one is immune to the burning and irritation of a particle of freshly catapulted basaltic glass, known as Pele’s hair, or other debris which might be ejected.  Again prevention is key here.  
 
Tours have been shut down, and local people have been urged to leave the area or stay indoors with 14 days’ worth of supplies.  Do not attempt to enter any zone that has been classified as off limits, remember, lava can reach temperatures of 2,120 degrees Fahrenheit.  Even “cooled” lava is around 700-800 degrees. If you are smelling a scent of rotting eggs, you are inhaling some of the poisonous gases that are emitted by the volcano and lava. Unfortunately, not all the gases have an obvious scent to humans.  Asphyxiation is the most common cause of death in a volcanic event. Few if any respirators or masks are designed to withstand temperatures and many of the gases that are present in an eruption. If you or a family member has a breathing problem, run the air conditioner. Please take this seriously. If you have been exposed or near the area and are feeling ill seek the help of a medical professional. 
 
How does all this information pertain to the voice you ask.  Well there are the upper respiratory symptoms which often negatively impact the ability to produce a voice clear of a “gurgle.” There is also the fact that your body is your instrument, any injury to the body has either a direct or indirect effect on the voice.
Be safe, enjoy Pele’s show from the comfort of your home.  Try this web cam from US Geological Service.
 
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