Semi-Occluded Vocal Tract Exercises (SOVTEs)
A brief video about SOVT exercises with the demonstration of a few common ones.
Overview
This page provides an introduction to Semi-Occluded Vocal Tract Exercises (SOVTEs) in singing and provide guidance on how to incorporate them into your practice and teaching. SOVTEs offer numerous pedagogical benefits and are frequently used in rehabilitative voice therapy. These exercises take advantage of air pressure in a way that promotes healthy phonation and fluid changes in registration.
Lessons About SOVTEs
Introduction
While many genres of singing have different aesthetic requirements and goals, it’s important to ensure the singer is able to achieve a balanced phonation for long-term vocal health. Semi-Occluded Vocal Tract (SOVT) Exercises (or SOVTE) were most commonly used in rehabilitative voice therapy, but have since gained significant popularity amongst voice teachers, singers, and vocal coaches. Personally, I love to incorporate these exercises into practice sessions and my teaching because they address a multitude of foundational elements of singing simultaneously. These exceptionally safe and beginner friendly exercises provide an opportunity to increase one’s awareness of airflow and breath resistance and assist in blending changes in registration. In the text and videos below, you’ll learn about SOVTE and the science behind them, along with exercises and applications.
Joseph Nizich, MM
Vocal Toolkit Contributor
Introductory Materials
Key Terms & Concepts
Adduction
The movement of the vocal folds to come together toward closure.
Pronunciation:
Balanced Onset
Adduction (coming together) of the vocal folds that is neither too weak nor too strong. For long-term vocal health, this is often considered the ideal type of phonation. In singing, it tends to create a subjective perception of warmth in the tone. (See “Resonant Voice” on our page on Hypo- and Hyper-adducted Phonation to learn more.)
Glottis
The space between the vocal folds that serves as the primary valve for the respiratory system and phonation
Pronunciation:
Image Credit: “Slagter – Drawing Larynx and vocal cords – no labels” by Ron Slagter, license: CC BY-NC-SA
Intra-Oral Pressure
Air pressure created in the oral cavity when more air is exhaled from the lungs than can be radiated from the mouth.
Passaggio
The part of one’s vocal range in which they experience transition across vocal registers. (Sometimes called a “break.”)
Pronunciation:
Subglottal Pressure
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Pronunciation:
Supraglottal Pressure
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Pronunciation:
Vocal Load
The amount of stress imparted on the vocal folds over a period of phonation.
Vocal Register
A consecutive range of pitches in a singing voice created by using a similar engagement of the primary muscles that influence vocal fold posturing. This range is perceived as smooth and tonally similar.
Anatomy & Physiology
The implementation of Semi-Occluded Vocal Tract Exercises (SOVTE) has many biological and acoustic benefits to the production of the singing voice. In typical phonation, the flow of air is predominately subglottal pressure, which oscillates the vocal folds by forcing them apart before they slam together once again. When intraoral pressure is introduced by means of an occlusion or semi-occlusion, there is a higher degree of supraglottal pressure on the vocal folds, which creates an oppositional force, preventing the vocal folds from slamming together with too much pressure (hyperadduction). It also lowers the threshold of pressure required to begin and sustain a sound.
SOVTE can also result in a high soft palate (required to prevent the air from escaping through the nose), an increase of vibrations in the oral and facial cavities (“mask”), and an increase in maximum flow declination rate causing the vocal folds to adduct (come together) more quickly, reducing vocal load. These different mechanisms can help with developing the mixed voice, developing a classical “covered” sound, encourage the sensation of head voice, and producing a fuller, more efficient, and more powerful vocal output.
Demonstrations
Teaching & Practice
Nasal Cononants in SOVTE
The use of nasal cononants ([n], [m], and [ŋ]) is a subject of debate in SOVTE. They offer the lowest intraoral pressure but greater sympathetic tissue vibration. While they might not be as useful for promoting healthy phonation, they can be helpful in enhancing the awareness of sympathetic vibrations for the student singer.
SOVT Exercises
A significant part of the appeal to SOVTE is their low-skill floor; it’s easy to feel immediate benefits on a first attempt. However, different types of SOVTE produce different end results in terms of amount of intraoral pressure, sympathetic vibrations of orofacial tissue, etc.
Setting the Stage: Contrasting a normal exhalation with a sustained hiss on a fricative ([f], [s], [∫ ]).
Oscillatory Occlusions: Techniques with a rapid alternation of full to semi-occlusion, such as with lip buzzes, blowing raspbberries, or (to a lesser) extent the rolled /r/.
Semi-Occlusion: Consistent, partial occlusion, such as straw phonation (in air or water) or vocalizing on [v] or [ʒ].
Under the Hood
Sources & Further Reading