Vocal production is at the heart of everything we do as singers; it is the art and science of how we sing.

From the JCDB, Guide to Vocal Skills:
Vocal skills are an integral part of all aspects of the barbershop style, and all four judging categories are affected by the degree of proficiency in this area.

Proper vocal production is the foundation upon which good sound is built. It is the first and foremost requisite to achieving blended ensemble sound. For the majority of our singers, improper vocal production is the underlying cause of many vocal problems. Good vocal production includes the ability to maintain pitch or express a wide range of dynamics, maintain continuous tone flow, balance chords properly, match vowels, sing accurate intervals, and sustain phrases well.

Knowing the elements of good vocal production and being able to instruct singers in achieving them is one of the most important jobs of a director.

NOTE: The terminology and catch-phrases used may change over time, or from person to person. It’s important to ground ourselves in the facts about vocal production so that we know what our goals are and exactly what we're listening for. Fads may change and imagery may change, but the underlying truths do not.

The goal of all singers is to enhance and improve their vocal skills in a healthy way, striving to create a rich, ringing, resonant sound regardless of range, volume, etc.

From a teaching/coaching perspective, the goal is to guide singers on this personal journey, always listening for a healthy approach to achieving the vocal goals of a skilled a cappella singer.

This module presents the following articles, which cover the most common areas of vocal production that a director will be called upon to hear, see, analyze, diagnose, teach, coach, and adjust in singers.

A short quiz is provided at the end of each article, which can help you self-assess how well you’ve learned the information provided in that article. It is HIGHLY recommended that all learners take these quizzes, prior to attempting the final module assessment.

7.1 - Vocal Anatomy and Physiology
This article provides an overview of the entire vocal apparatus, from the source of breath to the finish of word sounds. It is very important for directors to be familiar with the terminology used and how the vocal mechanism works.

7.2 - Alignment
Aligning our vocal instrument for optimal singing involves the entire body. By understanding the functional relationship of the spine and head, along with all the supporting anatomical structures, directors can help their singers achieve good alignment.

7.3 - Breathing to Sing
Breath is the fuel for our sound. Without good breathing techniques, optimal singing is not possible. This article gives step by step instructions for determining where and how breathing issues originate, and what can be done to improve breathing for singing.

7.4 - Phonation
The vibration of the vocal folds creates sound. Singers can help themselves improve phonation - the initiation of sound - by understanding better how the vocal folds work, and what we can do to help them operate most effectively.

7.5 - Resonance
Once breath is set in motion through the vocal folds, the quality of the resulting sound is determined by the singer’s use of their resonating spaces. This article provides many exercises to help singers experiment with their resonators to find their most resonant sound.

7.6 - Vowels and Diphthongs
When we open our mouths to sing, we sing primarily through vowel sounds. In barbershop, the goal is unified vowel and diphthong production, to optimize lock and ring.

7.7 - Consonants
Lyrics would never be understood if we sang only vowels. Consonants are critical to appreciating the lyrics of a song. Unifying their production is an important factor in synchronization.

7.8 - Vocal Registers
This article discusses the passaggio, the transition between head voice and chest voice, and how to navigate it.

7.9 - Dynamic Flexibility
Dynamics are important for expressive singing. This article explains how to achieve dynamic flexibility with resonance and support.

7.10 - Vocal Exercises
The time spent in building good vocal skills is never wasted. Even the most experienced singer needs reminders from time to time. This article provides an outline of many different types of exercises that can be used to teach the vocal production skills upon which our performances rely.

7.11 - The Healthy Voice
This article provides the basis for a director to teach and coach good vocal production and good vocal hygiene, to keep their singers’ voices healthy for a lifetime.

Contributors for this module were:
● Caitlin Castelino
● Mary Rhea
● Lori Lyford
● Sandy Marron
● Dale Syverson
● Betty Clipman
● Ryan Heller
● Kim Vaughn
● Anne Downton
● Peggy Gram
● Britt-Helene Bonnedahl
● Vickie Maybury
● Julie Starr
● Valerie Taylor
● Joanne Oosterhoff
● Sweet Adelines International Education Department