In order to enhance the first harmonic, it’s best to align it either in front of or behind the first formant. This, coupled with a high level of sub-glottic pressure and a long closed quotient, will ensure that the squillo will intensify. In addition to a high nasal placement in the loft register this specific alignment will give vibrance and resonicity to the sung production. If there is difficulty in accessing the vibrant regions, damping the lower formants, or gliding through the various flip-over points, the singer should engage the lower chambers in order to increase support potential. Further, as the masque begins to vibrate in sync with the vibrato rate, the singer will experience a shimmering in the floated tone such that it will release over the back into the head, as if the head were not there. The expansion of the resonance potential, caused by the airstream flowing into the vocal tract when it is occluded allows for the magnification of the harmonic/formant interaction. This convergence transcends “stickiness” and “lack of glottic sufficiency”.
While the closed quotient remains high, the air turbulence in the resonance tube is aggravated thereby creating a richness in the harmonic series. The voice will thus rebound into its full depth in high pitches and this facilitates ease in “covering” the open vowels. When dealing with a lyric voice, however, the flexibility requirement necessitates the support be transferred to the mid-abdominals, albeit without excess engagement either up or back while singing. The differential between breath support, breath management, breath control and breath movement will dictate the amount of transglottal airflow on all decibels levels above 90 dB. The higher dB levels are alleviated from being over-pressurized as the breathing goes from support to management to control and becomes movement in the final stages.
Engaging the expiratory muscles will also enhance the lower register in high pitches giving the singer the advantage of depth of tone without sacrificing sparkle. Further, engaging the velo-pharyngeal port while dropping the jaw gives the mouth shape a boost toward a “fish mouth” elongation. This provides darkness in a “coperto” but only when it is connected to the lower abdominals. The “egg-in-the-mouth” position, useful when singing a pear-shaped tone, is best accessed when the expiratory muscles and the lower abdominals are moving in opposite directions, such that the mid-torso and the lower chamber widen and move out simultaneously.
When emoting authentically in a song that requires power, it is important to avoid over-pressuring the larynx. This can be avoided by squeezing and holding the aryepiglottic sphincter into raised Vertical Larynx Site 3 for excellent results in resonance enhancement and basic internal reproduction. The singer, however, should refrain from attending to any personal evaluation of sound or sensation lest their proprioceptive loop be compromised by subjective interference. Further reading on this subject is advised and interested vocalists should consult the Vocalia-Pedia Reference Manual II, Edition II, by Occam S. Razor, from 2001.