Breath, voice and speech E-Book

Robert Ernst Castellitz

• Herausgeber: novum publishing
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch

Seitenzahl: 490

Veröffentlichungsjahr: 2025

Beschreibung

We know the cat's meow or the dog's bark when they want something from us humans. Creatures with voices use them to communicate with others and convey their emotional states. In the course of evolution, humans have developed a voice that has no equivalent in the animal kingdom. In his new book "Breath, Voice and Speech", Robert Ernst Castellitz shows us how our vocal system is structured, how the voice works and what different sounds there are. He also provides us with numerous practical exercises on how we can improve and refine our voice.

Leseprobe

Note

novum Verlag is conducting a study on the topic of “Machine translation of German books into the English language”.

The aim of the long-term study is to optimize the usability of automated translations - analyzed by human editors - on a linguistic basis.

We are pleased to be able to present you this e-book in English. It is a specialist book about German speech- and voice techniques, which is why the words and sentence examples remain in German.

The manuscript, including all its parts, is protected by copyright. Any use outside the narrow limits of copyright law without the author's consent is prohibited and punishable by law. This applies in particular to reproductions, translations, micro-reproductions and storage and/or processing in electronic systems.

Publisher

Robert Ernst Castellitz

[email protected]

Vienna

About the author

Robert Ernst Castellitz is a breathing, voice and speech trainer, coach, cultural manager and lecturer in cultural management and mediation. He holds seminars for companies and institutions in Germany and abroad, and his individual coaching sessions on important topics in life are in great demand. These are held in German and English, including online.

In 1998, he received the "Award for Teaching Activities of the Province of Lower Austria" for his teaching activities in Austria.

In 2024, the author donated the Senta Wengraf Ring for the role "Salondame" The first winner of this theater prize for actresses is the artist Sona MacDonald.

Explanation

Speaking is a whole-body affair!

It is the interplay of posture, breath, voice, speech and personality.

All of these points are directly interrelated and influence the perfect delivery of speech.

The language PERSONALITY can be trained. This book, with all its practical instructions and collections of vocabulary as an exercise book from practice for practice.

Quote

Speaking is like singing, only a little faster!

Introduction

This book is an exercise book for EVERY MAN/WOMAN!

All living creatures with a voice are able to express their emotional states through sounds. In the animal world, we are familiar with birds' calls and mating calls, the hunger roar of lions and the fearful shrieking of a voice in response to danger or pain. In animals and humans, sounds of this kind are triggered by stimuli and transmitted via nerve pathways to the phonation stream.

The human voice is bound to certain characteristics of the organism that are predetermined by nature. These cannot be changed, but they can be "refined".

The size of the lungs, the length and strength of the vocal cords and the nature of the resonance chambers are fixed parameters that cannot be changed even with a lot of hard work. However, the musculature that surrounds the main organs of speech and sound production and makes them functional can be stimulated through targeted practice.

A tone is initially voiceless; it only acquires its specific sound through the vibrational elements of the resonance chambers.

The pitch depends on the length and tension of the vocal cords and therefore on the number of vibrations (frequency).

The volume depends on the volume of air, which is controlled with the help of the respiratory muscles and produces the corresponding amplitude in the vocal chords.

The timbre results from the shape of the vibration and from the individual use of the resonance chambers, whereby the primary tone resulting from the vocal cord vibration is modified and amplified accordingly.

The formation of words and concepts is linked to a thought process. In this process, the impulses from a verbal utterance are transmitted from the speech center in the brain to the speech center in the larynx, where the phonation of the sound takes place through the corresponding adjustment of the vocal folds to each other. The formation of the speech sounds (phonemes) is primarily determined by the shape of the oral cavity and the larynx as well as the interaction of the individual articulation organs.

The vocal range of an adult extends over approximately two octaves. The speaking voice in its natural middle range usually comprises six notes. The male voice is generally between G and E, while the female voice is around an octave higher.

This breathing, voice and speech guide is easy to understand and is intended purely as an exercise book from practice for practice. During my almost 30 years of teaching, many of my students and clients have encouraged me to write this book. They approached me again and again, persistently asking me for exercises and an exercise book. They always wanted more and more information, information that I had learned but could not be found in textbooks. Many students/clients have asked me for a practice book that summarizes all the exercises and vocabulary I have presented. A book that simply explains the breathing-voice-speaking technique and makes it practicable. A great reference book. And here it is.

I have compiled all my exercises in this book from many points of the compass and continents, developed or modified them from various seminars and from my own reflections. I tried everything myself before passing it on. Now everything I have learned and experienced has been written down for EVERY MAN/WOMAN, for everyone who wants to try out and change breathing, voice and speaking techniques.

In 1999, I went to New York to do an internship at the famous acting school Lee Strasberg Institute and to study English speaking technique. It was incredibly interesting, exciting and exhausting, but very instructive. During this year in New York, I learned a lot about my mother tongue, German, through the English language.

German is a wonderful, but also a complicated, hard-sounding language with all the closing sounds T, K, and P, with its hardening at the end of words and its large vocabulary. The German language consists of flowery formulations, long tangled sentences, hard endings, many filler words that can create closeness and distance at the same time.

But enough theory, let's get down to practice.

HAVE FUN TRYING OUT, PRACTICING AND IMPLEMENTING!

PROLOG

Be in a good mood - radiate attractiveness!

Get in the mood by smiling and feeling your feet

Before you really get started, I would like to recommend two exercises that will change your day and boost your mood. Try them out, right now.

Retreat to a quiet place and listen to yourself. How do you feel? How do you perceive your mood, your body?

Now start smiling, pull the corners of your mouth up as high as possible; even if you don't feel like it, just start smiling. Stay like this while you continue reading.

You are now setting in motion a chemical process that is transmitted through your bloodstream and changes your mood.

At first, smiling is just a tensing of your muscle corset. However, this signals to your body's own information center that something really GREAT is being experienced. It immediately passes this happy message on to your unsuspecting emotional center without checking it. As a result, your mood is adjusted at the muscle corset - in the direction of POSITIVE MOOD!

These happy emotions are now transported by the blood and flow through the whole body, brightening every cell with a good mood.

How are you feeling now? Keep smiling and read on.

Now we come straight to the foot tracking exercise. Don't forget to smile.

Stand with your feet about hip-width apart and consciously try to feel the ground beneath your feet. Now become aware of your balance on both feet and close your eyes. With your eyes closed, start to sway slightly forwards and backwards and sideways from left and right, then draw small circles - move slightly forwards, to the left side, backwards, to the right side and forwards again. Also change direction. Shift your weight from one leg to the other, from your heels to your toes. Try yourself out. Don't forget to smile!

Now settle back in the middle and feel how you are now. Have your sensations and perceptions changed?

Good, then let's go one step further. Stomp and stamp very hard, getting faster and faster, do this for a moment and then stand still again. Feel it again. Do the whole thing with a smile. How are you feeling now? I hope you feel awake, grounded and in a good mood.

Then you are ready to continue browsing and trying things out!

1. CHAPTER

Basic information

1.1 The respiratory organ

The human respiratory organ is the lung, which consists of two lobes. The right lung consists of three lobes, the left of two. Each of the two lungs is surrounded by an airless sac called the pleura. The part adjacent to the lobes is called the pleura, the part adjacent to the ribs is called the pleura. The organs of the abdominal cavity are protected from the chest cavity by the diaphragm.

Lung

When breathing air is taken in, the pleural sheets, which are held together by a vacuum, adapt elastically to the expansion of the chest cavity caused by muscle activity. An inspiratory suction is created within the lungs, which pulls the pleura towards the walls of the chest or the diaphragm.

When we inhale (inspiration), the air passes through the oral or nasal cavity into the windpipe (trachea - a connecting tube between the larynx and lungs that is approx. 12 cm long and made up of individual cartilage rings and lined with mucous membrane). At its junction with the lungs, the trachea divides into two cords, which branch out again into small and tiny branches (bronchi, bronchioles) to expand at the end into a huge number of alveoli (300-400 million!) (bronchial tree). The alveoli are surrounded by a fine vascular network in which the exchange of carbon dioxide and oxygen takes place.

A physical law states that energy is consumed during work. Oxygen is needed to convert energy into work. The alveoli extract the oxygen from the air we breathe and transport it via the vascular network into the bloodstream, from where every organ, every muscle and every cell is supplied with the fuel it needs to perform its work. The carbon dioxide that is released is returned to the alveoli via the vascular network and excreted during exhalation (expiration).

The total surface area of the lungs is 80-100 m2. Air is exchanged approx. 16 times a minute. During normal, calm breathing, about ½ liter of air is exchanged. With the strongest inhalation and exhalation, an air volume of 3.5-5 liters is exchanged. This capacity is referred to as the vital capacity of the lungs. However, there is always about 2.5-3 liters of residual air in the lungs.

The duplicity of the air intake through nose and mouth

The three vital substances that humans need to maintain their bodies are oxygen, fluids and solid food.

Humans can live for several weeks without food, several days without liquids, but only a few minutes without oxygen. We have two ways of taking in air: through the nose or the mouth.

The nose is the main organ for taking in the air we breathe. It has cavernous bodies, glands and ciliated cells, which have the task of warming, humidifying and purifying the air before it reaches the larynx and lungs.

Mouth breathing should only be used as a substitute breathing method in the event of nasal illness, excessive physical exertion or rapid speech.

1.2 The breathing support

The term supporting organ includes those muscles that are directly involved in the breathing process and therefore also in voice control and have a significant influence on these processes. As the lungs themselves have no muscles, the muscles surrounding them are particularly important for breath control.

The respiratory muscles consist primarily of the diaphragm (diaphragm) and the intercostal muscles (intercostal muscles) as well as the abdominal and flank muscles connected to both.

The diaphragm is the strongest and most important muscle for breathing. It is a flat, highly elastic transverse muscle-tendon plate that closes off the chest cavity from the abdominal cavity. Its peripheral muscles reach deep down into the abdominal cavity. They are nervously connected to all the other muscles involved in the breathing process. In a state of rest, i.e. when breathing out, the diaphragm is curved upwards into the chest cavity due to the structure of its muscle fibers and as a result of the pressure exerted by the abdominal cavity (abdominal pressure). The diaphragm is pierced by the body's largest artery, the aorta and the esophagus, as well as by nerve cords.

It is the point where the pericardium, located between the lungs, is fused with the tissue of the diaphragm and represents the resting point within its range of motion. As a result of the flattening of the diaphragmatic dome triggered by the command from the elongated spinal cord, the abdominal viscera are displaced downwards, causing the organs to move sideways.

Diaphragm

Tension in the abdominal wall and widening of the abdomen below the ribs to the rear on both sides of the spine can be felt. In addition to the diaphragm, the abdominal wall and flank muscles are involved in this movement. Through its contraction and the associated displacement of organs (liver, spleen, lungs) as well as the pressure on the stomach and intestines, the diaphragm becomes a perceptible force against the pressure of the intestines. It also has a massage function for the abdominal viscera, which are stimulated and supplied with blood with every breath.

Diaphragm Lungs

As a result of this vertical elevation, the diaphragm enables the maximum expansion of the lungs against the soft tissue area of the lower abdomen and thus the utilization of the entire lung capacity. It therefore carries the main part of the respiratory process.

The intercostal muscles are precisely coordinated with the activity of the diaphragm. Due to the inspiratory position of the diaphragm, the rib cage also assumes the inhalation position. This movement ensures maximum expansion of the lungs in the chest area. The expansion of the rib cage created by the external intercostal muscles through inhalation is only reduced at the end of phonation by the counteraction of the internal intercostal muscles. Their task is to contract the chest during exhalation.

The lower part of the rib cage expands like a barrel when you take in air and becomes long and narrow as you exhale. The shoulder girdle, sternum and collarbone remain almost uninvolved in the breathing process!

The space for the maximum development of the lungs is therefore already created before the air flows in and remains in place during the phonation phase. In the pursuit of continuity in breath control, the diaphragm has the task of not yielding to the shrinking of the lungs, on the one hand, and resisting the upward pressure of the viscera from the abdominal cavity, on the other, without losing its own elasticity. The diaphragm is to be understood as a highly elastic membrane that is suspended between visceral pressure and respiratory pressure. The diaphragm is of great importance for the dosage and control of expiratory air in the formation of linguistic expression. As a springy, taut membrane, it becomes an ideal springboard for vocal sounds.

As a supporting organ, the diaphragm has the task of maintaining the suction tension in the pleural region by applying pressure against the abdominal viscera, which prevents the lung tissue from collapsing and allows the respiratory flow to be regulated.

1.3 The correct posture

The basic prerequisite for correct breathing is an upright posture with an extended spine and a horizontal pelvis.

Pelvic position

If this fulfills its natural function as a "shell for the intestines", there is no need to retract the abdominal wall, which blocks the mobility and elasticity of the respiratory muscles. This would lead to tension in the area of the abdominal wall and obstruct the flow of air into the depths of the lungs. The result would be isolated thoracic/clavicular respiration.

The weight of the chest, shoulder girdle and arms, each of which rests on the lungs, would prevent them from expanding when inhaling and from dosing the exhaled air into an even, continuous, slow flow when exhaling.

The laborious lifting of the chest and shoulder girdle when inhaling not only leads to tension in the throat muscles, but could also result in overstretching of the alveoli due to the forceful intake of air and sometimes even cause organic ailments.

The strong muscles on both sides of the spine stretch the spine from the sacrum to the cervical vertebrae and lift the upper body out of the pelvis in a self-supporting manner. Conscious diaphragmatic breathing with the organic shift of the center of gravity of the breath into the pelvis gives the body strength and stability. The ventilation of the chest cavity during intercostal breathing adds to the body's sense of stability with a feeling of lightness, which has a positive effect on the approach of the sounds and all movements of the body.

1.4 The elasticity of the respiratory organs

Everyone knows the high surface tension of a good quality rubber ball. The impact of the ball on the ground and the dent it makes, but which is able to expand immediately due to the quality of its material, can be transferred to the function of the diaphragm. Here, too, it is important to quickly regain its tension in order to supplement the air released during speech as easily and silently as possible.

The movement of a piston in the cylinder of an internal combustion engine illustrates the vertical movement of the diaphragm within the abdominal cavity. The moment of completed intensive exhalation (-t) is equivalent to the moment of ignition. The piston is driven downwards by explosive force, whereby the suction for the intake of the fuel-air mixture takes place almost simultaneously in the cylinder.

Inter-rib front view - rib breathing

In the human body, the suction created by the diaphragm's downward thrust causes the lungs to be pulled downwards and the air to flow in at the same time.

The third example focuses on the horizontal movement of the respiratory muscles.

A rubber balloon with an outlet valve is squeezed with two fingers. Air flows out. As soon as the pressure of the fingers stops, the balloon returns to its original shape. The elastic rebound of the rubber jacket creates suction inside the balloon, which draws the remaining air towards the wall and creates space for new air to flow in from outside. The air volume is thus replenished.

Inter-ribs back view - inhalation

In humans, the air is forced out by contracting the alveoli with the help of the intercostal muscles, which contract the ribs. This exerts pressure on the flank muscles, causing the tense diaphragm muscles to relax like a slack spring and return to their resting position. The rib cage becomes long and narrow. It overlaps the raised diaphragmatic dome. When the pressure from the intercostal muscles is released, the diaphragm immediately returns to inspiratory tension.

1.5 The vocal organ

The human vocal instrument is made up of sound-producing and sound-amplifying organs.

The organ is the larynx, in which sound is produced by vibrations of the vocal cords.

Cross section of extension tube

The framework of the larynx consists of two corresponding cartilages. These are: the cricoid cartilage, which directly adjoins the trachea, and the thyroid cartilage located above it, both of which are connected to each other by muscles and ligaments. They are moved against each other by means of two joints. The tremendous elasticity and extensibility of the trachea allow the two large laryngeal cartilages to move against each other to tension the vocal folds and also allow the larynx to move up and down with each swallow.

The two vocal muscles originate in the anterior inner angle of the thyroid cartilage (Adam's apple) and lead backwards across the cricoid cartilage to the attachment points of the two cartilages. These, also known as the arytenoid cartilage, are three-sided, pyramid-shaped bodies. The obtuse angle of each represents the articular connection to the cricoid cartilage. The vocal muscle attaches to one of the two angles, while the other is the attachment point of the stellate muscle.

Extension tube

The vocal muscle is commonly referred to as a ligament, but it is more like a flat prism with elastic muscle fibers running through its sides and in different directions, the edge of which is commonly referred to as the vocal fold.

When the cartilages are displaced along the posterior edge of the cricoid cartilage, a gap called the glottis is created between the vocal folds.

The shape of the glottis depends on the strength of the airflow and the type of phonation.

1.5.1 The 5 basic forms of the glottis

1st respiratory position

During normal breathing, the glottis is open as wide as an acute-angled triangle.

Respiration

2nd phonation position

The vocal folds and cartilage lie loosely against each other; the air flow that carries the sound causes the vocal muscles to vibrate slightly. The resulting vocal fold tone is called the primal or primary tone. The vibration of the vocal muscle is predominantly a horizontal movement with additional vertical openings.

Phonation

3. whisper

The vocal folds lie against each other and a small triangular space remains open between the legs of the cartilage and the cricoid cartilage, in which the whispering sound is produced when the air flows through. The vocal muscles themselves are inhibited from vibrating by the closure and cannot produce any sound.

Whisper

4. full closure

The glottis is also closed in the area of the cartilage, as the legs of the cartilage lie against each other. Full closure occurs during the act of swallowing or in pressing situations (coughing, clearing the throat).

Full closure

5. full breathing position

The adjusting muscles pull the muscular processes of the cartilage backwards, the vocal processes move apart and the glottis opens to the width corresponding to the air volume or the sound. It takes on the shape of a pentagon.

Full breathing

1.6 The larynx

When the vocal muscles are particularly loose due to a low laryngeal position, the main pockets above the vocal folds (Morganian pockets) are pulled apart. They help to widen the laryngeal cavity and allow the loose vocal folds to swing through.

The organs that amplify the sound are the resonance chambers of the head and chest. The vibration of these parts gives the primary tone its characteristic sound and amplification. Muscle activity within the resonance chambers causes them to reshape or deform in order to amplify and nuance the vocal fold sound produced in the larynx. This flows through all the cavities of the skull and, enriched in volume and color nuances, reaches its point of attack at the very front of the so-called mask before it flows out through the opening of the mouth or nose.

Larynx

The embouchure of the vocal sound: phonation

A sound originates in the speech center of the brain, where it is transmitted directly to the larynx. There it is realized via the function of phonation and articulation.

The glottis is brought into a phonation position by the onset of the will to speak. This means that in order to translate the thought into sound, the breath stops in order to be dosed accordingly for the creation of the phonatory expression.

The vocal folds close together for this brief moment, only to be immediately opened again by the stream of expiration that carries the sound.

In German, the vowel should be used gently, but not breathy, because vocal fold closure caused by a "hard blow" to the glottis could damage the vocal muscle. As a result, the vocal folds would no longer lie exactly against each other due to overstretching. The purity of the phonation would be impaired as a result.

Dilation of the pharynx

In order to open the way for the vocal sound to enter the corresponding resonance cavity, the pharynx must be widened as much as possible. The soft palate of the oral cavity, the space between the root of the tongue, the pharynx and the velum, needs to be stretched considerably to allow the vowel to flow unhindered into the oral cavity (yawning position).

Vocal cords closed

The widening of the larynx and oral pharynx results from a low position of the larynx, the lifting of the velum with the help of the lifting and tensioning muscles (levator and tensor muscles) in the area of the nasal cavity, a contraction of the palatine arch muscles and the opening of the epiglottis due to the conscious heaviness caused by the tongue being moved forward. In practice, these conditions are assumed during the yawning position.

Vocal cords open

1.7 The organs of articulation

The articulatory process of shaping sounds into elements of a language differs both with regard to the nature of a language and the articulatory abilities of humans. The precision of sound production depends on the position of the individual organs in relation to each other as well as their elasticity and trainability.

Speech defects can occur due to malfunction of individual articulation organs or their unfavorable position in relation to each other. It is usually possible to correct these through exercises and intensive, targeted training.

The task of articulation is, on the one hand, to clear the passage for a sound unhindered and, on the other hand, to create the necessary closures or constrictions.

Articulation organs are the parts of the oral cavity that are responsible for the formation of sounds by adjusting to each other.

1.7.1 The lower jaw (mandible)

The mandible or jaw is a curved bony body with two ascending branches, each of which has two projections. These are a pivot joint connection to the zygomatic process of the temporal bone and a muscle connection. These allow mobility of the lower jaw, which can be further increased by loosening exercises.

Skull

1.7.2 The lips (labia)

The lips are the precision organ for the articulation of sounds. Their position and the tension of their muscles give the oral cavity and thus the vowel the desired shape. A tight closure of the lips is necessary for the formation of explosive sounds, a soft one for the sounding consonants and labial constricted sounds. A loose but precise lip position is essential for the correct position of sibilants. Nimbleness when opening and closing is just as important as the elastic yielding of the cheek muscles when dropping the lower jaw. These muscles can also be trained with special lip exercises.

Lips

1.7.3 The tongue (lingua)

The tongue is the strongest and most mobile organ of articulation. There are sounds that are produced by the passive resting position of the tongue and those that are produced by its activity. Both are important for sound formation. When articulating certain sounds, the tongue becomes an extremely sensitive tactile organ. Due to the tension of its muscles, it enables an extremely powerful sound formation and, due to its liveliness, a very fast sound sequence.

The hyoid bone is fused to the larynx above the epiglottis. The lingual frenulum, with which the front part of the tongue is attached to the floor of the oral cavity, prevents the tip of the tongue from rising and curling up unintentionally. It holds it against the alveolar edge of the lower incisors when sounds are formed.

Only when forming the sounds L, N, D, T and rolling R does it leave its resting position. When forming the sound SCH, the tip of the tongue shifts slightly backwards.

In order to master difficult sound combinations effortlessly and achieve the greatest possible fluency and ease of speech, it is necessary to train the tongue through targeted exercises.

Tongue cross section

Tongue

1.7.4 The uvula (uvula)

The last articulation organ within the oral cavity is the uvula. It forms the highly elastic extension of the palate. Immediately above the dental ridge, the hard, immobile part of the palate curves upwards and continues into the soft palate (soft palate or velum). The velum merges on both sides into two skin folds, the anterior and posterior palatal arch, and laterally into the pharyngeal wall. The soft palate and palatal arches are lifted by muscle pulls (tensor and levator). This gives the oral cavity its maximum opening in the pharyngeal region (yawning position).

To close the nasopharynx (velar closure), a muscle bulge approaches the uvula muscle from the posterior pharyngeal wall, which pulls backwards over the palatal plate and joins with the drooping uvula of the tense and raised velum.

The mobility of the uvula and its ability to swish when forming the pharyngeal R can also be trained with special exercises.

Suppository

1.8 The extension tube

The part of the respiratory system that begins above the glottis is called the embouchure tube. It serves to amplify the primary tone produced by the vibration of the vocal muscles. The part that connects to the windpipe below the glottis is called the windpipe.

The wind pipe acts as a resonance chamber. The embouchure tube, on the other hand, is a complicated system of cavities that merge into one another to create a powerful sonority, but can also be used for special sounds.

The embouchure tube begins with the Morganian pouches. These are small cavities located above the glottis between the true and false vocal folds and form the first tone-amplifying space within the embouchure tube. This is followed by three further, large cavities that merge into one another: Pharynx, oral cavity and nasal cavity.

Extension tube

The pharynx is divided into three levels: larynx, oral pharynx and nasopharynx. During normal nasal breathing, it is in open communication with the nasal cavity due to the uvula resting on the root of the tongue. The path of the inhaled air through the oral cavity must first be cleared by extending the uvula against the posterior pharyngeal wall, whereby the upper part of the pharynx, the nasopharynx (epipharynx), is closed off from the two parts of the pharynx below.

The oral cavity (cavum oris) begins with the oral vestibule. This is the space between the lips and teeth. The actual oral cavity begins behind the incisors. This occupies the space between the palate, uvula and tongue. The uvula forms the movable seal between the oral cavity and the pharynx. Raising or lowering the uvula allows the oral cavity or nasal cavity to be alternately isolated from the entire system of the attachment tube.

The nasal cavity (cavum nasi) is bounded below by the palatal plate, laterally by the maxilla, above by the ethmoid bone, sphenoid bone and frontal bone and in front by the nasal bone. The nasal cavity is divided into two halves by the nasal septum. The nostrils open the nasal cavity to the front. At the back, it opens into the nasopharynx. There are three conchae (cavernous bodies) on the side wall of each half of the nose, between which the nasal passages run. These are connected to the sinuses of the facial skull (frontal, sphenoid, maxillary and ethmoid sinuses).

1.9 The amplification of the vocal sound: RESONANCE

The soundless vibration of the vocal muscles triggered by the expiratory flow continues in the spaces of the windpipe and neck tube filled with breathing air. It stimulates these within the chest and head area to resonate with the upward vibration.

Through the activity of various muscles, it is possible to change the shape of the vocal organ and the amplifier organs and to modify the primary tone in various ways. These sound characteristics resulting from the deformation give the human voice its special timbre.

The human voice has two resonance ranges. These are the chest and head resonance. The separation between the two resonance chambers is the glottis. The allocation to the corresponding resonance range depends on the tension of the vocal folds and the resulting vibration range of the vocal muscles.

Breast resonance

This term is used to describe the amplification of a basic tone that continues through vibrations in the chest cavity via the sternum, collarbone, shoulder girdle and ribs. The result is a full-sounding, deep, slowly vibrating sound that is characterized and amplified by the use of the entire resonance chamber.

Head resonance

The output tone is again the primary tone. This is placed in the resonance range of the embouchure tube by a greater tension of the vocal folds, but with a faster, shorter vibration, in order to be further modified in the cavity of the mouth or nose corresponding to the characteristics of the sound. The embouchure tube opens up the resonance chambers of the head via the three-tiered pharynx and the oral and nasal cavities.

Indifference position

Indifference pitch is the full-sounding middle register of a well-developed, supple speaking voice. The respective indifferent register can be determined for each speaking voice. This is located in the lower third of the total vocal range and comprises around three whole tones. In this position, optimum vocalization is possible with the least possible effort in terms of laryngeal muscle tension and breathing pressure. Each sound includes both resonance chambers - that of the head and that of the chest. The sound range below the indifference position is called the solution depth.

The man's vocal ranges: tenor, baritone, bass.

The vocal ranges of the woman: soprano, mezzo-soprano, alto

1.10 Sound physiology

The sound inventory of the German language consists of vowels and consonants, which can be combined in different ways. The sounds of the spoken language level are assigned letters in the written language level. However, this assignment is not always unambiguous, as several letters can be assigned to the same sound. A sound can also be represented by several letters or a letter by several sounds. The special nature of the individual sounds results from the way they are formed and their possible combinations, both in written and spoken language.

2. CHAPTER

Thoughts, tips and technical details

Breath is life and if you breathe well you will live long on earth!

(unknown author)

2.1 Breath and posture

Our existence on earth begins with our breath. We are born; before we cry out, we have to breathe in. We become adults and suddenly we forget to breathe because of all our haste in everyday life. We forget that we are allowed to breathe in order to live. Many of us don't take the time to speak. They hate making sounds as they do in everyday life and wonder why no one listens to them, why they are not understood.

People are shaped by heredity, upbringing and self-discipline. Upbringing determines the language you will speak as an adult.

Four important points make up being awake for speaking:

Sensation, feeling, thinking, movement.

Constant relaxation slows down muscle activity and makes it weak; constant tension leads to jerky, angular movements.

This means: think first, then act! Consciousness is awareness and the realization of what is going on in consciousness, or what is going on in us while we are conscious.

Plate sentences only become an effervescent source of forms, figures and references that enable new combinations and discoveries when the feelings, senses and imagination are stimulated by these senses.

This means: when you think in images, in a mental combination that is peculiar to you.

A parable from Tibet says that a person who is not aware of himself is like a carriage whose passengers are the desires, whose horses are the muscles, and the carriage itself is the skeleton. Consciousness is the sleeping coachman. As long as he sleeps, the carriage is dragged aimlessly here and there. Each passenger wants to go to a different destination, each of the horses pulls in a different direction. If the coachman is awake and holds the reins, he will steer the horse and carriage in such a way that each passenger reaches their destination. In those moments when consciousness succeeds in making common cause with feeling, sensation and thought, the carriage will keep to its road and move along it easily and quickly. These are the moments in which discoveries are made, in which one invents, exhausts, recognizes something new. In them he understands his small world and that and the big world around him are one, and in this unity he is no longer alone.

If we want to change habits, it takes conscious work until the right attitude feels like the normal one and becomes a new habit itself. Anyone who has tried it once knows that a habit is harder to change than you think.

2.2 Spine

The spinal column consists of:

one coccyx, five lumbar vertebrae, twelve thoracic vertebrae and seven cervical vertebrae.

Spine

2.3 Some technical details

Breathing volume

The air is not completely emptied when we breathe out and is not filled to the maximum when we breathe in. During normal breathing, we only breathe in and out about 0.5 liters of air - respiratory air or normal breathing volume. When we inhale to the maximum, we can take in 1.5 to 2 liters of air - inspiratory reserve air. If, on the other hand, we breathe out completely, we can breathe out 1.5 to 2 liters in addition to the respiratory air - expiratory reserve air. What remains in the lungs even after the deepest exhalation is about 1.5 liters of residual air - residual air.

Diaphragm

The diaphragm is the largest muscle in our body. This means that there are actually several interconnected muscle groups that stretch across the upper body under the lungs.

Eutone - Balance

A state between relaxation and overstress, i.e. physical and mental equilibrium that helps to achieve undreamt-of strength.

Vital capacity

Maximum breathing volume - normal vital capacity: 3.5-6 liters of air

Appropriate posture

It is more about flexibility, permeability and transparency. Posture should not only serve physical health, but also promote joy, creativity and lightness. Posture should create the opportunity to express your inner personal potential. A harmonious posture offers a form, a vessel for the qualities that are expressed through it. These qualities express themselves in the grace of movement, in the clarity of gestures, perhaps also humor in facial expressions or longing and freedom in vocal expression. An elastic, upright posture enables optimal breathing and relaxed, lively speech.

Practice

Voice and body form a unit and are directly connected to each other. EXERCISE is the loving turning towards oneself. EXERCISE means consciously experiencing personal rhythms, the interplay of activity and passivity, tension and relaxation and other opposites of human nature. There is only one way to find out whether exercises work or not, and that is to try them out.

Liveliness

The livelier we are, the more energy we have and radiate, and vice versa. It is important that we keep our knees flexible at all times and do not pull our stomach in, but keep it loose and elastic. Natural relaxed breathing pulls downwards and outwards as we inhale/flow in. The diaphragm contracts and lowers, the abdominal cavity enlarges. During this process, the chest cavity also expands outwards to the front.

Relaxed, easy breathing relates mainly to the abdomen and less to the chest. Laughing and crying come from the abdomen. The sound of the strong voice is directly related to breathing. Be in contact with your body. In other words, don't be perfect, but be alive! Radiate living power.

2.3.1 Goals to be achieved

Silent full breathing:

Diaphragmatic, flank breathing

Insertion of the various resonances:

Optimal connection between chest and head resonance

Relaxed, relaxed tone:

Loose neck muscles

looser jaw

Active diaphragmatic breathing

Optimal posture

Active precise articulation:

Smooth lips

Loose lower jaw

Elastic tongue

Colorful lively speech:

Clarity of voice

Sculpture of language

Pointing out the thoughts

Contact with the audience (listeners)

2.3.2 Errors that should be avoided

Breathing:

Shallow, short breathing

Noisy breathing

Stagnation of the breath,

Waste of air (blowing air)

Drawing too much breath

Raise your shoulders while inhaling

Tone formation:

Voice pitch too high

Pressing,

bumpy, throaty sound

flat, low-resonance sound

Articulation:

Mouth laziness

Sluggishness of the lips

Closed rows of teeth

Heavy tongue

Errors in the formation of S/R

Speech:

Monotone speaking

hasty, rapid speech

false pathos

General:

All cramps of the speech apparatus

3. CHAPTER

EXERCISES

3.1 Physical exercises

EXERCISE 1 - Perception of the breath while standing

Stand upright - in a familiar position, close your eyes, let your breath come and go in your usual rhythm. During the coming and going, determine - without changing anything - whether the air flows in and out through the nose or the mouth or perhaps in through the nose - out through the mouth or vice versa. Determine whether the inhalation and exhalation breaths are the same length or whether the inhalation or exhalation is longer.

EXERCISE 2 - Perception of the breath in the supine position

Lie on your back on the floor, arms and legs comfortably stretched out and relaxed next to your body, legs stretched out loosely next to each other, now also in the lying position notice how the breath comes and goes and whether there are differences between inhalation and exhalation (as in exercise 1).

These two exercises are about experiencing and recognizing your own individual breath. Nothing is changed yet. You just want to listen to yourself and find out how your breathing rhythm flows. Evenly? Does the breath flow in and out through the nose or through the mouth? Does the air perhaps flow in through the nose and out through the mouth or vice versa? Which parts of the body move during the breathing process? Answer these questions for yourself.

EXERCISE 3 - Thinking through the body lying down

Lie on your back on the floor, stretch your legs out and let your arms lie loosely to the left and right of your body, your breath comes and goes - inspiration (let it flow in) and expiration (let it flow out)! Now slowly and consciously walk through your whole body, starting at the tips of your toes. Continue from the tips of your toes to the soles of your feet - heels - ankles - lower legs - knees - thighs - pelvis, then from the coccyx slowly along the spine towards the head, noticing which parts of the body are supported and which are not. Continue along the cervical spine to the point where the head rests, continue along the skull to the forehead - along the temples to the cheeks and jaw, determine whether the mouth is open or closed, whether the teeth are clenched or the jaw is loose. Then mentally wander back, again over the cheeks, temples and forehead, skull back to the cervical spine, to the shoulders - shoulder blades - along the back towards the pelvis, to the left and right of the spine to the abdomen, noting how it moves when you breathe, on to the chest - collarbone - upper arms - elbows - forearms and to the hands. Also compare the left and right sides of your body, check the differences in the contact surfaces and the spaces between them, the distance to the floor and mentally note how you are lying down. Don't change anything - just notice! Then check your breathing again and see if it has changed. Slowly wake up and slowly straighten up.

EXERCISE 4 - Relaxed body thinking - seated

Assume a comfortable posture sitting on a chair, lean back, let your head hang forward, rest your arms comfortably on your thighs, close your eyes, concentrate on exhaling, let a few breaths come and go, then mentally walk, as described in exercise 3, through the body, starting with the toes, soles of the feet, lower legs, thighs, pelvis, spine, head, face, jaw, back to the shoulder blades, back - pelvis - abdomen - chest - upper arms - forearms - elbows - hands etc. Then, at the end of the exercise, consciously breathe in and out vigorously, shake out your arms and hands, open your eyes and stretch.

3.1.1 Breathing exercises

(safety, duration and strength of the breath)

Exercise 1 - Activate breathing

Lying on your back, stretch your arms loosely on the floor next to your head so that your hands are resting next to your ears - touch your back to the floor - think about how your body is resting - slowly stretch your right arm on the floor over your head as you exhale so that it is no longer touching the floor - relax again as you inhale - change sides

Other variants:

Supine position - simultaneously stretch out your right arm and right leg and let them relax again - change sides

Alternate between stretching out your right arm and left leg and releasing them again - switch sides

Repeat the same exercise 8 to 10 times, also lying on your stomach.

Exercise 2 - Distinguishing the parts and functions of breathing

Lie on your back, legs up (hip-width apart), breathe in and out while mentally observing and noticing which parts of your body are moving when you breathe. After a few breaths, exhale and hold your breath until you feel that you need to catch your breath - inhale and exhale - hold again.

Other variants:

Repeat the breathing movement a few times, but without actually breathing. This means: exhale, hold your breath and perform the body or chest movement a few times - then let your breath flow in and rest

Place your hands on your stomach, let the air flow in - hold your breath and contract your chest as you exhale, then release it again

Alternate between contracting your chest - sticking out your stomach; then puffing out your chest - contracting your stomach - creating a rocking movement -

Lying on your back, legs and arms stretched out - repeat the movement (inhale - belly out - chest contracted; exhale - belly in - chest puffed out)

Variants also lying on the stomach

Lying on your back - press your left chest and right abdomen more firmly against the floor as you inhale - rest, then change sides

Lie on the right side of your body, stretch your right arm under your head so that your head rests on it, left arm above your head - left hand grasps your right ear - lift your head to your left shoulder as you inhale - put it down again as you exhale (the arm lifts your head) then rest briefly on your back, change sides

Sitting on the floor, legs bent, sole of foot on sole of foot - arms embrace the chest - let head hang - rocking movement to the left and right, repeat 8-10 times each time

Trace in supine position, then slowly stand up and determine how and whether your breathing has changed.

Exercise 3 - Changing your breathing

Lying on your back, feet up - cross your right leg over your left, as you exhale your left knee goes to the right side - as you inhale back up to the center - change sides

Other variants:

Stand on your right leg, keep your left leg stretched out on the floor - stretch your arms towards the ceiling and interlock your hands (forming a triangle), now slowly turn over your left shoulder to the side as you exhale - return to the center as you inhale - switch sides

Lying on your back, feet up - right leg over the left - let your legs fall to the right and lay them down - arms crossed behind your head - as you exhale, raise your head straight out to the front - change sides - lying on your back, legs up - hands behind your head, raise your head with your hands as you exhale - lay your head down as you inhale

Lie on your back - place your arms next to your body and feel.

Repeat variants 8-10 times.

Exercise 4 - Deepen your breathing

Sitting on the floor, soles of feet against soles of feet - arms behind the head, let the head fall forward - the back is bent and the hands press the head lightly towards the floor - breathe out and in - mentally let the air flow into the right half of the body only and breathe out - then mentally let the air flow into and out of the left half of the body only, finally into both sides.

Repeat 8-10 times.

Exercise 5 - Abdominal loosening

Stand with your knees loose, let your belly relax - place your hand on your belly, close your eyes and breathe in and out calmly - mentally send the air deep into your belly.

Repeat 6-7 times.

Exercise 6 - Pelvic cradle

Lie on your back, legs hip-width apart - tilt your pelvis slightly towards the floor as you inhale (slightly hollow back) - press your lower back against the floor as you exhale (rounded back)

Variation: exhale over a long, comfortable sound.

Repeat 7 times.

Exercise 7 - Breathing and vibrating

Lie on your back, stretch your legs towards the ceiling, pull your toes up so that they point towards your body - in this position, breathe in and out deeply (legs start to vibrate), then relax your legs and repeat the exercise 3 times.

Exercise 8 - Muslim prayer

Starting position: kneeling, bend the upper body forward, rest the forehead on the hands, which touch the floor - let the belly hang loosely, the breath comes and goes, stay in this position for approx. 2 minutes and concentrate on the flank breathing, then straighten up and feel.

Exercise 9 - Flank activation

Sit on the floor with your legs stretched out - let your upper body and head fall forward - hold on to your lower legs with your hands (thumbs inside, 4 fingers outside) - if the diaphragm now presses down outwards as you inhale, this stretches the flanks, which are activated during the exercise - let your breath flow, repeat 8-10 times.

Exercise 10 - Breath flying

Stand upright, stretch your arms out to the side and perform flying movements like a bird, making a brrrr sound with your voice.

Exercise 11 - Filling

Hold your breath briefly (ready position) - exhale on a long sustained voiceless or voiced S, loosely without emphasis, until the process stops by itself.

Exercise 12 - Filling

Standby position (hold your breath), exhale in three consecutive S-S-S separated by equal pauses. Gradually increase the number of thrusts. The hand on the flanks checks that small inhalations are NOT made during the pauses.

Exercise 13 - Filling

Stand by for as long as possible (hold your breath), a counter-pressure sensation arises in the flanks, which increasingly urges you to exhale, then exhale.

Exercise 14 - Filling

Stand by (hold your breath), immediately exhale very forcefully: a loud S or F is produced - stand by again, now exhale very gently: a quiet S or F is produced.

Exercise 15 - Filling

Standby - exhale on S or F in a sequence of beats: for example, long - short - long or quiet - loud - quiet: then change the volume and duration and longer sequences.

Exercise 16 - Slow filling

As soon as the filling inhalation has reached its peak, a sensation of tense swelling arises in the flanks (see exercise 3). Maintain and strengthen this inhalation sensation during the exhalation process.

Exercise 17 - Filling

Be prepared to exhale as sparingly as possible through loosely pursed lips in a whistling position. A lighted candle is held close to the mouth, which must not move under the breath.

Exercise 18 - Filling II

The same exercise with the mouth wide open, whereas in the earlier exercises on S or F the tooth-lip barrier formed by the mouth helped to stem the exhalation flow, the task of holding back now falls solely to the diaphragm.

Exercise 19 - Filling III

Bring your lips into the F position, then inhale - hold for a long time - exhale. The more the lower lip presses against the teeth, the more difficult it becomes to exhale (clearly noticeable in the abdomen and flanks) and the greater the strain on the diaphragm.

Exercise 20 - Fill as slowly as possible

Stand by for as long as possible - exhale for as long as possible. This requires a high degree of breathing control.

The inhalation must be completely inaudible, without any sound of the larynx and mouth rubbing; inhalation is performed through the mouth and nose at the same time.

3.1.2 Activation exercises

Exercise 1 - Shoulder relaxation

Starting position: stand hip-width apart, knees loose, raise your right arm shoulder-high to the front, turn your head and arm to the right, keep your pelvis still - see how far you can turn and remember the furthest point. Bring your arm back to the front.

Start the exercise: as you exhale, the right arm moves to the right, at the same time the head moves to the left, as you inhale, the head and arm return to the middle starting position (the left arm remains hanging loosely), repeat 7 times; briefly shake out the arms, then raise the same arm again - repeat the movement, this time the pelvis moves to the left with the head, while the right arm moves to the right again, repeat 7 times, shake out the arm - change sides.

Close your eyes and notice what has changed.

Exercise 2 - Shoulder rolls

The exercise can be performed standing or sitting, but not with your back leaning - raise your shoulders towards your ears and let them fall as you exhale.

Variations: roll forwards and backwards, roll in opposite directions.

Repeat 8-10 times and trace

Exercise 3 - Arm swings - loosening the shoulder area

Standing posture - let your arms swing forwards and backwards - let your breath come and go - do not control it.

Variants: opposite, single circle.

Repeat 8-10 times and trace.

Exercise 4 - Ground contact exercise I

Stand with hips wide apart, upper body bent forward and knees loose, fingertips touching the floor, weight evenly distributed on balls of feet and fingertips, now lift heels off the floor and stretch legs as far as possible without lifting the fingers off the floor until the legs vibrate slightly, then squat down again and relax.

Repeat 3 times.

Exercise 5 - Ground contact exercise II

Stand in your usual position, legs approx. 25 cm apart, now distribute your weight evenly on the balls of your feet and heels - on the exhale bend your knees slightly 6 times and then straighten up again - feel for yourself.

Exercise 6 - Circling pelvis

Standing posture, loosen your knees, place your hands on your hips - draw circles with your pelvis, first from left to front right and back, change direction.

Repeat 7 times and trace.

Exercise 7 - Standing pelvic swing

Standing posture, relaxed knees - tilt the pelvis forward as you exhale (rounded back) and tilt it backwards (hollow back) as you inhale.

Repeat 8 -10 times and trace.

Exercise 8 - Neck stretch

This exercise can also be performed standing or sitting (not leaning) - clasp your hands behind your neck and let your head hang down, now press your head lightly towards the floor with your hands, keeping your back straight, remain in this position for approx. 1 minute, then slowly loosen your arms, take them away from your head and let them hang down, then slowly lift your head and feel for yourself.

Exercise 9 - Neck massage

Sitting, but not leaning, let your head hang loosely forward, run your fingers up and down the hanging neck and massage, then slowly raise your head again and feel.

Exercise 10 - Head rolls

Sitting, but not leaning, let your head hang loosely forward, roll your head slightly to the left and right, then perform circles, then slowly swing your head out and lift it - feel for yourself.

Repeat 6-8 times.

Exercise 11 - Hand loosening

Shake hands loosely and massage.

Exercise 12 - Eye exercise

Sitting or standing in an upright position, the head remains fixed, the eyes look to the right and left, blink, move up and down, roll to the right and left, close your eyes and feel.

Repeat each variation 6-8 times.

Exercise 13 - Face loosening exercise

Sitting or standing in an upright position, stretch your jaw forward and show your lower teeth, pull your jaw forward and back, move your jaw forward then left and right, wrinkle and wrinkle your nose, raise and lower your eyebrows, look angry, pull your face up-down-left-right, contract your face, then loosen your face again, shake and relax - feel for yourself.

3.2 Quick exercises

(repeat 5 -7 times, then trace)

Exercise 1

Sitting with your back upright, eyes closed and head hanging loosely forward, actively breathe in and out through your nose - feel it! Then let your breath come and go through your nose - feel it.

Exercise 2

Squat down, keeping your back straight and stretched and arching your back slightly - let your breath come and go - slowly stand up - feel for yourself.

Exercise 3

Same exercise, only this time let the breath flow out loosely on SCH, then close your mouth - pause - let the breath flow in - hold your neck upright - feel it.

Exercise 4

Panting with the diaphragm, only through the nose - like a snorting horse.

Exercise 5

Inhale through your nose, then exhale slowly through your nose, do the same with your right nostril held closed, then switch and hold your left side closed - also alternately. Inhale and exhale noisily.

Exercise 6

Cough properly: open your mouth, place one hand on your stomach and check how your stomach moves when you breathe through your mouth - then cough consciously, your stomach goes in when you cough - feel it.

Exercise 7

Sniffing: audibly inhale and exhale through the nose - also hold one nostril shut and alternate.

Exercise 8

Upright sitting posture - place your hands on your thighs and now, using SCH, move slightly into a hollow back with your upper body straight as you exhale and then return to the sitting posture by letting your breath flow in.

Exercise 9