Breathiness: The “Airy” Voice Part III

Insufficient breath energy accounts for the rest of the breathiness that I hear in my students’ voices. Often new students assume an overly relaxed posture and fail to use good support of their breath. They need to learn how to manage their airflow by balancing the resistance provided by the expansion of the intercostals muscles and the controlled rise of the diaphragm (see Appoggio in Correct Breathing For Singing). When trying to eliminate a breathy tone, many singers will attempt to force the sound out in order to get more volume, pushing instead of supporting the voice, which only masks the problem and creates tension in the neck and shoulder muscles and an unsteady flow of air. Thinking in terms of “allowing” or “letting” more air out, rather than “pushing” more air out sometimes makes a significant difference both psychologically and physically. The notion of letting more air out often helps a student to relax and control the breathing mechanism better. There is an optimal balance of muscular involvement that needs to be achieved for singing. A singer must remain neither too relaxed, nor too tense. Once support improves, breathiness generally lessens.

Some students produce breathy tones only when descending in pitch. They tend to relax their breath energy because the pitch demands are not as high going downward on a scale. The laryngeal muscles may also become lax.

Some singers find that physical fatigue from inadequate rest makes it impossible for them to find the energy needed to support their voices and coordinate their bodies well enough to produce a clear tone. Better sleeping habits tend to immediately improve this kind of breathy tone production.

Insufficient hydration (dryness) can also temporarily create a breathy tone in a singer’s voice, as the vocal folds do not function optimally when they lack sufficient moisture for lubrication.

Some singers use a breathy tone in an effort to imitate the vocal stylings of their favourite singers. If the students’ vocal role models are singers like Britney Spears and Mariah Carey, who employ breathy, raspy, scratchy sounds for artistic effect, they may, either consciously or unconsciously, adopt the same tonal quality as their own, viewing it as both desirable and marketable. Emulating or learning to sing in the same fashion as their idols encourages the development of poor technique, and is potentially detrimental to the vocal apparatus. It may take months or years to help students understand why this tone is undesirable and to unlearn these bad vocal habits.

Of course, there is a place within contemporary music where breathiness may be acceptable. This effect, when intentionally but sparingly used, can add some thoughtfulness, sweetness, drama, sexiness and intimacy to a song, and can be an intentional effect to increase artistry.

However, many of these famous singers are unable to produce a clean, focused tone due to poor singing technique. They sing each song on their CDs with the same unfocused tone. If this is the only way in which a singer is able to sing, then he or she lacks good technique and should not be considered an ideal vocal model. He or she may make a good living with this style of sound production, but success and popularity are not necessarily synonymous with vocal talent, correctness and healthiness, and students of voice should be cautioned to avoid imitating these tones. Just because a singer may have a pleasing, albeit breathy, tone, does not mean that he or she is singing well or correctly, and it doesn’t mean that he or she isn’t being limited by this tone production choice, if indeed it is a choice. Again, this should not be the only way in which a singer is able to sing.

Prepubescent girls and those who are in their early teens may not be able to fully eliminate breathiness from their voices, as there may be a physiological (medical) explanation for this tone – the mutational chink – that will require maturation to make disappear completely. Although I tread lightly with the voices of younger students, it is possible to safely and gently help to improve the singing tone of these maturing voices, in spite of the mutational chink phenomenon, since some of the breathiness is also attributable to improper singing technique, including inadequate breath support and energy and poor attacks or onsets of sound.

Using gentle glottal onsets, achieved by singing notes in staccato, twang and energized whining (like a baby) in the upper middle and upper range may be effective. Some teachers find that lip and tongue-tip trills help to even out breathy (as well as pressed) phonation. Also, forward consonants, like “b” and “v”, may help to focus resonance or tone during onset/staccato exercises. Eventually, once tone clears up, these consonants can be removed from the exercises. Using front vowels, particularly the [i] and [e] is generally not recommended for young female voices because they force a firmer adduction (closure) of the vocal folds and thus a higher air pressure on the young instrument. However, in order to produce a balanced training of the voice, these vowels, which occur regularly in both speaking and singing, should not be altogether neglected, even by the young singing voice.

I have had success with removing much of the breathiness in the middle registers of some of my young female students by having them make excited statements like “Whoo hoo!” and “Oh no!” in a range of pitches that would fall within their upper middle register. From these exercises, I will often move onto having the young singer say a variety of English words, formed with different vowel sounds, at specific pitches. (They always seem surprised that this “pitched talking” sounds a lot like singing, but doesn’t feel as difficult!) Once these students begin to become aware of the mechanism that maintains clarity of tone during speech at these higher speech-inflection pitches - they can invariably produce a clear “calling” voice, which suggests to me that the problem of breathiness is often more a matter of psychology than biology - they almost immediately find it easier to produce the same clear tone during the extended vowels of singing. Sometimes just seeing how the vowels that they train with during their lessons are applicable to the singing of songs (i.e., with consonants added to create meaningful words) helps them to make the body-mind connection.

Breathy tones in young singers may also be caused in part by their growing bodies. There tends to be a fair bit of inconsistency in their placement – where they focus their tone – because growth, including that of the vocal apparatus, may occur rapidly. One week, placement works, and the following week, it doesn’t. A mere millimetre of growth in the larynx can significantly affect the voice. Often the simplest methods of achieving good tone and placing resonance in the mask or masque (the bony structure of the face), such as humming and the use of more resonant consonants, are the most successful ones with this age group. Once these pre-adolescents are beyond puberty, the problem with inconsistency generally disappears.

Additionally, young singers often lack coordination between their body alignment, theactuator (the lungs and breathing system), the vibrator (the vocal folds) and theresonator (the vocal tract). As they gain better awareness of their postural balance, their breathing becomes more efficient, which in turn helps them to phonate and resonate more efficiently.

Breathiness: The “Airy” Voice Part II

Poor approximation (closure) of the vocal folds explains much of the breathiness that I encounter in my teaching, especially in my young female students. Students often need help developing a good onset of sound or attack at the start of a sung phrase.

Many untrained and self-conscious singers produce this tone in order to soften the edges of their voices so that they don’t sound as loud. Oftentimes, new students who have never taken lessons before are extremely nervous when they first meet me – a trained, professional singer - assuming that I will critique them harshly or make fun of them for their less-than-perfect singing voices. They then produce a very quiet, conservative, airy sound while singing in front of me. In some cases, the issue of self-consciousness becomes most pronounced during puberty, a time during which young students must contend with an inconsistency in their changing and maturing voices and must come to accept and embrace a newly emerging adult voice that sounds different than what they have grown accustomed to hearing themselves produce. The voice is a significant part of who we are as individuals, and if we don’t feel as though what we have to share is worthy of being heard by others, we may produce a non-projective, quiet singing or speaking voice. Sometimes improvements happen immediately, once the student becomes more comfortable singing in front of me, but most of the time, it takes some work to help them get past their psychological hang-ups so that we can clean up their tone.

Often there may be certain sections of a singer’s range, or certain notes, that seem to come out particularly breathy or unclear. Sometimes this faulty tone emerges around pivotal registration points or only within certain registers. Most often, breathiness in untrained males occurs in head voice, as these students either are afraid of hurting themselves by singing above speech-inflection range and hold back on breath energy to reduce volume and strain or are simply unaccustomed to hearing themselves sing in higher pitches and substitute a breathy falsetto-type voice for legitimate full voice. In young untrained females, breathiness often emerges in the middle register because they tend to relax their breath support and reduce their breath energy in this range where they are more comfortable singing the notes or because of underdevelopment of this range. In untrained females who have passed puberty, breathiness often occurs in head voice because they fail to make appropriate vowel modifications and then produce a “spread” vowel sound rather than experiencing the necessary “narrowing” of the vowels that would otherwise enable them to maintain a clear, free tone in the upper register. In lighter- or higher-voiced females, I sometimes notice a lack of focus in the tone when they are singing at the bottom of their chest or natural voice ranges. (The bottom extreme of a singer’s range is impaired by breathiness because the marked shortening of the vocal folds tends to set the folds apart and create a bulging mass within the vocal folds.) These women tend to produce a vocal fry-type mode of phonation, which can be damaging to the voice if used excessively. In all of these cases, improvement in vocal technique corrects the problem of breathiness in the voice.

Many singers struggle to maintain clarity in their tone only while singing certain vowels. More closed vowels – ones in which the tongue is positioned close to the roof of the mouth - such as the [e] and [i], tend to give many students problems because, while attempting to add openness to the vowel to prevent it from sounding tight or squeezed, singers often end up spreading the vowel. For others, more open vowels – ones in which the tongue is in a low position - such as [a], seem to invite breathiness. Front orback vowels, as well as vowels that are either rounded or unrounded, may also be more or less problematic for certain singers. Most singers seem to have difficulties with at least one vowel when they first walk into my studio, and the reasons for these problems are often easy to pinpoint but painstaking to correct. In most cases,articulation of vowels and vocal tract shaping are what need to be addressed and corrected, and old habits are often hard to break.

Breathiness: The “Airy” Voice

Breathiness is by far the most common tonal weakness that I encounter with singers, and most predominantly among females of all ages. There are numerous explanations for why breathiness occurs in a singing or speaking voice, and I will explain them in the paragraphs below. Many singers are not aware of the breathiness that is present in their voices, nor of its undesirability and inefficiency, until it is pointed out to them and until they become aware of what good tone and resonance should sound and feel like.

A “breathy” quality or an “airy” tone can be heard as an audible passing or “leaking” of air through the mouth while singing, almost like the faint sound of air leaking out of a tire or balloon. It is often described as an “unfocused sound or tone”, and tends to create a diffuse and wispy sound, or a raspy, scratchy vocal quality (e.g., as in the case of ex-president Bill Clinton’s speaking voice). This mode of phonation, when habitually used, is also termed hypofunctional.

During inhalation, the vocal folds come apart to allow air to enter the lungs. Directly after inhalation and immediately prior to Phonation (or singing, for our purposes here), however, the vocal folds need to come together gently and firmly with the aid of the laryngeal muscles. This closure cuts off the escaping air. When the air pressure in the trachea rises as a result of this closure, the folds above it are blown apart, while the vocal processes of the arytenoid cartilages - a pair of small, pyramid-shaped (three-sided) cartilages that form part of the larynx, to which the vocal folds are attached - remain in apposition (side by side). This creates an oval shaped gap between the folds and some air escapes, lowering the pressure inside the trachea. Rhythmic repetition of this movement, a certain number of times a second, creates a pitched note. Ideally, the vocal folds should contact each other completely during each vibration, fully closing the gap between them.

In order to oscillate, or vibrate, the vocal folds need to be brought near enough together - this is known as vocal fold closure or approximation - so that air pressure builds up beneath the larynx . This increased subglottal – the area below the glottis, or larynx - pressure causes the folds to vibrate and make sound. The vibration of the vocal folds modulates (regulates) the flow of air being expelled from the lungs during phonation.

When the vocal folds fail to close completely before singing, however, breathiness results. In other words, a breathy style of singing is achieved by holding the vocal folds apart. In breathy phonation, there is insufficient resistance by the vocal folds to the air that sets them into vibration. As a result, airflow escapes the glottis during the quasi-closed phase, which generates noise and produces a strong fundamental.

Common Tone Production Errors

Although there are numerous undesirable colours  and “shades” of tone, (such as “pinched”, “sharp-“ or “shrill-sounding”, “flat-sounding”, “shaky”, “thin”, etc.), I tend to divide the most common tone production errors into three general categories: breathy, nasally and throaty. In this article, I have also included a fourth tone production error, pressed phonation, because it is also relatively common amongst untrained or incorrectly trained singers. Each of these errors in sound or tone production is a product of poor singing technique and results in a failure to create optimal resonance, which is an important part of good singing. These faulty tones all tend to hamper loudness ability and limit range, control, stamina and volume. Furthermore, since improper tone production is created through improper use of the vocal apparatus, it can also lead to vocal fatigue, strain or injury.

In some cases these tone production weaknesses may indicate the presence of a medical condition (e.g., vocal fold dysfunction or other glottal incompetence, etc.) that is preventing the vocal apparatus from functioning optimally. It is always in the singer’s best interest to have a doctor examine his or her vocal tract in cases where the singer finds that he or she is unable to make improvements in singing tone after a reasonable length of time working with a qualified vocal instructor, or where persistent pain or discomfort is present during either singing or speech. A correct diagnosis and proper treatment of such medical concerns can save the voice from (further) injury, and save the singer from years of frustration and discouragement when he or she remains unable to produce desirable tone.

It is important to understand that many singers may demonstrate these tone production errors only at certain times, in certain places within their range, on certain vowels or at certain pitches. Also, the voices of some singers may be described in more than one way. For example, some singers are both nasally at points and throaty at other times during a song.

Good Tone Production for Singing

A major goal of serious students of voice is to learn how to produce smooth, even, fully resonant, pleasant tone throughout the range.

Ideal tone is a complex product of breath control, vocal fold function, position of the larynx, tongue, nose, and soft palate, as well as use of resonance in the head and throat cavities, (amongst other functions of the vocal apparatus). Beyond these “basics”, there are many other nuances and intricacies of tone, such as colour, quality, registration, etc., that are best developed with some professional, expert guidance. Tone is far too complicated for me to treat in depth in this article, and far too complicated to learn by merely reading suggestions and advice from others on the internet.

I strongly recommend that you find a knowledgeable, experienced voice instructor who will teach you correct singing technique and improve your overall tone. Opt for a technique instructor who will focus a great deal on your tone development over a vocal coach who will likely spend more time on having you sing songs than on fully developing your technical skills. (Read my article Vocal Coaching or Vocal Technique Instruction? to learn more about the difference between these two styles of teaching.) Working with a vocal instructor who is highly knowledgeable about the science of singing will help you to gain a better understanding of how to use your body to produce a desirable, “perfect” tone. Furthermore, with some help, you can become aware of and eliminate tone production errors, and thus improve breath control, stamina, vocal agility, volume, range and vocal health as a result.

The following subsections will address topics ranging from common technical errors that produce poor tone, why they occur and how to correct them to finding ideal vocal resonance to why our voices all sound different to the role of breathing in tone production to register blending to exercises that will help a beginning student learn to feel and hear correct tonal balance in the voice. (Again, I can’t emphasize enough the inherent inadequacy of this article to help a singer create balanced tone. It is merely intended to provide some information to help guide a singer to a better understanding of his or her voice. A singer who is truly serious about achieving a great vocal tone should study vocal technique with a competent, knowledgeable instructor.)

This article is intended to go in tandem with the Singing With An Open Throat: Vocal Tract Shaping article soon to appear on this same site, which will address other aspects of tone creation, such as ideal positions of the tongue, jaw, lips, soft palate, larynx, etc. and the acoustical science of formants, which add warmth and vibrancy to the singing voice.

Caring for Your Voice, tips on taking care of your voice.

Your voice is a powerful but delicate instrument. With the right care, you can both protect your voice and use it to your best advantage. Start by caring for your voice with this five-step approach.

One: Breathe deeply.
You can speak only as well as you breathe. The voice, after all, is a wind instrument. You need to supply it with ample air in order to power your talk. Before getting up to speak, find a place where you can pause quietly for awhile. Do a few breathing exercises. Take deep (diaphragmatic) breaths to supply your voice with air.

Beginning speakers often hurt their voices because they aren't breathing deeply enough. When you breathe in, your stomach should push out. When you breathe out, your stomach should push in. Place your hand on your stomach when you're practicing your presentation. See if you're bringing air all the way down into your diaphragm.

Breathe deeply even as you make your way to the front of the room. Pause for a few seconds and breathe as you look around the room. Taking even one additional deep breath will help your air supply and give your voice more support.

Two: Learn to relax.
Tension in your upper body diminishes the power of your voice and can cause hoarseness. Over time, it can adversely affect your throat and can lead to vocal chord damage that is sometimes serious enough to require surgical repair. Through vocal warm-up exercises, you reduce tension in your shoulders, neck, and throat. As you exercise, allow your body to breathe naturally. Relax your body and let whatever tautness is there flow out each time you exhale.

Three: Condition your voice.
Try some tender loving care on your voice. Try gargling, which helps assure that your voice is in the best possible condition. This is especially helpful if you happen to have a cold on the day you're presenting. A teaspoonful of salt and a teaspoonful of baking soda dissolved in a cup of warm water make a simple solution that will wash away phlegm, allergens, and other irritants. After you gargle, coat and soothe your throat with a cup of herbal tea or decaffeinated tea, with plenty of honey.

Four: Hydrate.
Drink plenty of water before and during your talk. Talking for long periods can dry out your vocal apparatus, making it more prone to damage and fatigue.

Avoid foods and beverages that impair your voice.

Avoid spicy foods, which can increase the production of stomach acids.

Avoid alcohol, which dehydrates. Alcohol, of course, can also impair your performance (not to mention your judgment.) And avoid caffeine, which also dehydrates. Besides, it's a diuretic, and as such can cause other problems.

Be aware of any medications you may be taking, such as allergy pills, which can dry out your throat. If you must take your medications without exception, it becomes even more important to hydrate before you speak.

Five: Empower Your Voice.
There are several ways you can do this. One of the best things you can do is get a good night's sleep. You'll have more vocal energy and will avoid sounding tired.

Once you've begun speaking, open your mouth wide. You can't have a big sound unless, to put it bluntly, you have a "big mouth." And do use large gestures. Besides helping you to emphasize a point, large gestures from your shoulders actually reduce upper body tension and empower your voice. 

Good Vocal tips to a Healthy voice!

. Hydration

The vocal folds need to be lubricated with a thin layer of mucus in order to vibrate efficiently. The best lubrication can be achieved by drinking plenty of water. A good rule of thumb (if you have normal kidneys and heart function) is to drink at least two quarts of water daily. Dr. Van Lawrence, world renowned Laryngologist, often said, “Drink until you pee pale.”

Caffeine and alcohol pull water out of your system and deplete the vocal folds of needed lubrication. Caffeinated drinks include coffee, tea, and soft drinks. Small amounts of these beverages are acceptable but must be counterbalanced by drinking more water.

Another factor that can affect lubrication is a dry air environment. The cause can be from gas furnaces, air conditioners, and climates with a low amount of moisture in the air. Using a humidifier at night can compensate for the dryness.

The air in airplanes is extremely dry. It is recommended that you avoid alcoholic, caffeinated beverages and drink at least 8 ounces of water per hour while flying.

Dr. Lawrence often recommended a favorite gargle recipe: 1/2 tsp. of salt, 1/2 tsp. of baking soda, 1/2 tsp. of clear corn syrup, and 6 oz. of warmed, distilled water. Gargle quietly and gently for two long, boring minutes. Do not rinse and use as often as necessary to help your dry, irritated throat.

In addition, Entertainer’s Secret^® (800 308-7452) throat spray is an effective way to help moisturize the vocal folds (follow the directions on the label).

II. Throat Clearing & Harsh Coughing

Throat clearing and harsh coughing are traumatic to the vocal cords and should be reduced as much as possible. One of the most frequent causes for throat clearing and coughing is thick mucus (due to dry vocal folds) or too much mucus (as with a cold) on or below the vocal folds. The safest and most efficient way to clear mucus is by using a gentle, breathy productive cough where there is high airflow with little sound. This can be achieved by using the following strategy: take in as deep a breath as possible, momentarily hold your breath, and produce a sharp, silent “H” sound while you expel the air.

III. Drugs

Antihistamines: Antihistamines are sometimes prescribed to treat allergies and are present in some over-the-counter cold medications. Antihistamines should rarely be used because they tend to cause dryness. Prescription nasal steroid sprays such as Nasacort^® (Phone-Poulenc Rorer), Nasonex^® (Schering), Flonase^®(Allen & Hansburys), etc. will often relieve the symptoms of nasal allergy without the drying side effects of antihistamines.

Analgesics: Aspirin products and non-steroidal anti-inflammatory drugs (ibuprofen) should be used with caution as they cause platelet dysfunction and this may predispose to bleeding. Tylenol^® (McNeil Consumer Products) is the best substitute for pain relief.

Mucolytic Agents: The most common expectorant is a preparation of long-acting guaifenesin to help liquefy viscous mucus and increase the output of thin respiratory tract secretions. Drugs, such as Mucinex^®, may be helpful for singers who complain of thick secretions, frequent throat clearing, or postnasal drip. Awareness of postnasal drip is often caused by secretions that are too thick rather than too plentiful. Mucolytic agents need to be used with a lot of water through the day, to be effective.

Local Anesthetics: Avoid the use of over-the-counter local anesthetic preparations for the throat. Singing under their influence is like trying to play the piano with gloves on.

Progesterone: Question the use of progesterone-dominant birth control pills. They may cause virilization of the female larynx and a loss in the upper vocal range. There may be no other alternative for your individual situation, however, so consult your gynecologist.

IV. Laryngopharyngeal Reflux Disease and Recommendations to Prevent Acid Reflux

What is Reflux?

When we eat something, the food reaches the stomach by traveling down a muscular tube called the esophagus. Once food reaches the stomach, the stomach adds acid and pepsin (a digestive enzyme) so that the food can be digested. The esophagus has two sphincters (bands of muscle fibers that close off the tube) to help keep the contents of the stomach where they belong. One sphincter is at the top of the esophagus (at the junction with the upper throat) and one is at the bottom of the esophagus (at the junction with the stomach). The term REFLUX means “a backward or return flow,” and refers to the backward flow of stomach contents up through the sphincters and into the esophagus or throat.

What are GERD and LPRD?

Some people have an abnormal amount of reflux of stomach acid that goes up through the lower sphincter and into the esophagus. This is referred to as GERD or Gastroesophageal Reflux Disease. If the reflux makes it all the way up through the upper sphincter and into the back of the throat, it is called LPRD or Laryngopharyngeal Reflux Disease. The structures in the throat (pharynx, larynx, vocal folds and the lungs) are extremely sensitive to stomach acid, so smaller amounts of reflux into these areas can result in much more damage.

Why Don’t I have Heartburn or Stomach Problems?

This is a question that is often asked by patients with LPRD. The fact is that very few patients with LPRD experience significant heartburn. Heartburn occurs when the tissue in the esophagus become irritated. Most of the reflux events that can damage the throat happen without the patient ever knowing that they are occurring.

Common Symptoms of LPRD:
Hoarseness, chronic (ongoing) cough, frequent throat clearing, pain or sensation in throat, feeling of lump in throat, problems while swallowing, bad/bitter taste in mouth (especially in the morning), asthma-like symptoms, referred ear pain, post-nasal drip, singing difficulties (especially with high notes).

Medications for LPRD:
The most effective treatment for LPRD may be drugs in the class known as proton pump inhibitors. Included in this group are Prilosec^®, Prevacid^®, Protonix^®, Aciphex^®, or the new medication known as Nexium^®. Ask your physician which may be appropriate for you.

V. Self-Destructive Behaviors

Avoid smoking cigarettes. They are bad for the heart, lungs, and vocal tract. Also, avoid other irritant inhalant substances and mind-altering drugs. Tobacco and marijuana are irritants to the vocal tract. When you sing you must be in control of all body systems: physical, spiritual, and mental. Smoking is disastrous for the speaking and singing voice.

Vocal Use Practices

1. Avoid hyper functional use of your voice, i.e., learn to use your voice with as little effort and tension as possible. A high school or collegiate singer in training should be able to sing for 3-4 hours per day (when healthy) without debilitating the next day's singing activity. If one cannot sing for this length of time without some disablement, then one should consider a reevaluation of present singing or speaking habits.
2. Keep in mind that the degree of individual vocal conditioning and innate vocal capacity to endure wear and tear relate directly to the amount of singing or speaking one can do each day.
3. Avoid singing in a tessitura which is continually near the extremes of your own range (both high and low). Carefully pace the use of register extremes (such as pushing the chest voice into the upper range for effect, i.e, belting). MISUSE OR OVERUSE HERE CAN BE VOCAL SUICIDE.
4. Before singing or using the voice in unusual ways (public/dramatic speaking), do some vocal warm-ups. As in any physical activity, the warm-up should proceed from general stretching through less strenuous to more strenuous usage. Loud volume and high range are the most strenuous of usages,therefore, begin in the mid-range with easy production. At every stage along the way, evaluate your present day vocal condition, and adjust your rehearsal activity accordingly. Every voice is different, but 7-10 minutes of warm-up is usually the minimum.
5. Reduce general voice use prior to a concert. While riding the bus to the program, have a quiet period when everyone can conserve energy for the task that is at hand.
6. Avoid shouting, screaming,loud laughter, and heavy throat clearing. Necessary coughing and sneezing should be as gentle and as nonvocal as possible.
7. If it feels bad, don't do it.
Common Signs of Significant Vocal Abuse
1. Throat is tender to the touch after use.
2. Voice is hoarse at the end of singing.
3. Throat is very dry, with a noticeable "tickle" that is persistent. Check dehydration.
4. Inability to produce your highest notes at pianissimo volume.
5. Persistent hoarseness or an inability to sing with a clear voice after 24-48 hours of vocal rest.
Treat your voice and body sensibly when you feel vocally run down. This necessitates the development of accurate perceptions by the singer of why the voice is feeling tired. Accurate self-evaluation will lead one to therapeutic practices which will return you to vocal health in the shortest period of time. In doubt? seek professional help.

Vocal Nodes!!! (AHHHHHHH!!!!!!)

The term vocal cord lesion (physicians call them vocal “fold” lesions) refers to a group of noncancerous (benign), abnormal growths (lesions) within or along the covering of the vocal cord. Vocal cord lesions are one of the most common causes of voice problems and are generally seen in three forms; nodules, polyps, and cysts. 

Vocal Cord Nodules (also called Singer's Nodes, Screamer's Nodes) 

Vocal cord nodules are also known as “calluses of the vocal fold.” They appear on both sides of the vocal cords, typically at the midpoint, and directly face each other. Like other calluses, these lesions often diminish or disappear when overuse of the area is stopped.

Vocal Cord Polyp
 A vocal cord polyp typically occurs only on one side of the vocal cord and can occur in a variety of shapes and sizes. Depending upon the nature of the polyp, it can cause a wide range of voice disturbances.

Vocal Cord Cyst 

A vocal cord cyst is a firm mass of tissue contained within a membrane (sac). The cyst can be located near the surface of the vocal cord or deeper, near the ligament of the vocal cord.  As with vocal cord polyps and nodules, the size and location of vocal cord cysts affect the degree of disruption of vocal cord vibration and subsequently the severity of hoarseness or other voice problem. Surgery followed by voice therapy is the most commonly recommended treatment for vocal cord cysts that significantly alter and/or limit voice. 

Reactive Vocal Cord Lesion 

A reactive vocal cord lesion is a mass located opposite an existing vocal cord lesion, such as a vocal cord cyst or polyp. This type of lesion is thought to develop from trauma or repeated injury caused by the lesion on the opposite vocal cord. A reactive vocal cord lesion will usually decrease or disappear with voice rest and therapy. 

What Are The Causes Of Benign Vocal Cord Lesions? 

The exact cause or causes of benign vocal cord lesions is not known. Lesions are thought to arise following "heavy" or traumatic use of the voice, including voice misuse such as speaking in an improper pitch, speaking excessively, screaming or yelling, or using the voice excessively while sick. 

What Are The Symptoms Of Benign Vocal Cord Lesions? 

A change in voice quality and persistent hoarseness are often the first warning signs of a vocal cord lesion. Other symptoms can include:

• Vocal fatigue 
• Unreliable voice 
• Delayed voice initiation
• Low, gravelly voice
• Low pitch
• Voice breaks in first passages of sentences
• Airy or breathy voice 
• Inability to sing in high, soft voice
• Increased effort to speak or sing
• Hoarse and rough voice quality
• Frequent throat clearing
• Extra force needed for voice
• Voice "hard to find"

When a vocal cord lesion is present, symptoms may increase or decrease in degree, but will persist and do not go away on their own. 

Just be very careful in what you do with your voice avoid screaming at all costs,  and if you feel like you cant sing anymore....Don't!!!!!

~Emmett Gabriel Tross 

Vocal Use Practices

1. Avoid hyperfunctional use of your voice, i.e., learn to use your voice with as little effort and tension as possible. A high school or collegiate singer in training should be able to sing for 3-4 hours per day (when healthy) without debilitating the next day's singing activity. If one cannot sing for this length of time without some disablement, then one should consider a reevaluation of present singing or speaking habits.

2. Keep in mind that the degree of individual vocal conditioning and innate vocal capacity to endure wear and tear relate directly to the amount of singing or speaking one can do each day.

3. Avoid singing in a tessitura which is continually near the extremes of your own range (both high and low). Carefully pace the use of register extremes (such as pushing the chest voice into the upper range for effect, i.e, belting). MISUSE OR OVERUSE HERE CAN BE VOCAL SUICIDE.

4. Before singing or using the voice in unusual ways (public/dramatic speaking), do some vocal warm-ups. As in any physical activity, the warm-up should proceed from general stretching through less strenuous to more strenuous usage. Loud volume and high range are the most strenuous of usages,therefore, begin in the mid-range with easy production. At every stage along the way, evaluate your present day vocal condition, and adjust your rehearsal activity accordingly. Every voice is different, but 7-10 minutes of warm-up is usually the minimum.

5. Reduce general voice use prior to a concert. While riding the bus to the program, have a quiet period when everyone can conserve energy for the task that is at hand.

6. Avoid shouting, screaming,loud laughter, and heavy throat clearing. Necessary coughing and sneezing should be as gentle and as nonvocal as possible.

7. If it feels bad, don't do it.

Maintaining Vocal Health

1. Try your best to maintain good general health. Avoid viral colds (a regimen of washing hands hasbeen shown to reduce the transmission of cold viruses). Some advocate vitamin C and zinc lozenges, while I find these effective I would recommend their use these only after the student has consulted a physician.
2. Emotional and physical stress both contribute significantly to vocal distress. Exercise regularly. Using your major muscle groups in jogging,etc. is an excellent way to diminish stress. NOTE: extensive power weight lifting will place some wear on the vocal folds, this should be avoided during times of extended vocal use or vocal fatigue.
3. Eat a balanced diet. At times of extended vocal use avoid large amounts of salt and refined sugar, spicy food such as Mexican, Szechuan Chinese, as well as excessive amounts of food and/or alcohol. One may note hoarseness in the larynx or dryness of the throat after drinking significant amounts of alcohol, caffienated, as well naturally or artificially sweetened beverages. The body needs water to metabolize these foods and beverages, excessive consumption of these items will reduce the amount of water available to hydrate the voice.
4. Maintain body hydration (7-9 glasses of water a day) and avoid known dietary diuretics such as caffeine and alcohol. Moisture is a necessary lubricant of the vocal folds. When one's body is dehydrated laryngeal lubrication diminishes and wear takes place at a much greater rate than normal.
5. Avoid dry, artificial interior climates. Laryngologists recommend a humidity level of 40-50%. Much body moisture is lost while breathing air in low humidity climates, i.e., air conditioned or heated rooms (routinely 10-20% moisture), cars, buses, etc.
6. Avoid smoking cigarettes, cigars, pipes. These are bad for the heart, lungs, and vocal tract of not only yourself, but others around you as well. Avoid other irritant inhalants, i.e., marijuana. In addition to the debilitating effect on the vocal tract, you need your head on straight when you sing.
7. Avoid breathing smoggy, polluted air, i.e., car exhausts, smoky bars and lounges when you are vocally tired.
8. Avoid the use of local anesthetics when you are singing. The anesthetic effect masks any signs of injury, therefore encouraging further abuse of the folds. Additionally, singing under their influence is like playing the piano with gloves on (Chloroseptic, Parke-Davis Throat Discs, etc.).
9. Question the use of progesterone dominant birth control pills. These cause a virilization of the female larynx and a decrease of range in your upper register. There may be no other solution for your particular situation, however. The treatment of endometriosis often includes pharmaceuticals which cause permanent vocal changes. Inform your doctor that you are a singer if you are undergoing treatment for this disease.