Feel the Joy of Singing!


Ep. 60「軟口蓋 - リングの帰還」【VLTTW翻訳】

今回はジャスティン・ストーニーによる「ヴォイス・レッスンズ・トゥー・ザ・ワールド」の翻訳シリーズ、エピソード60「軟口蓋 - リングの帰還」です!どうぞお楽しみください ;)


Ep. 60 "The Soft Palate - The Return of The Ring" - Voice Lessons To The World

エピソード60「軟口蓋 - リングの帰還」






Hi everybody! My name is Justin Stoney and I'm the founder of New York Vocal Coaching here in New York City.




Welcome to episode 60 of Voice Lessons To The World. Today we're going to be talking about raising the soft palate. Oh! [Freaky noises] Sorry about that.






Uh, anyway, today's question comes from Mariella C. in Buenos Aires, Argentina.




And Mariella writes, "Dear Justin, my voice teacher says I need to raise the soft palate in order to hit higher notes. Is this true?"




Well, Mariella, I do have some thoughts on this particular topic. But the answer is so important that it's truly epic.


マリエラさん… このトピックに関しては考えがあります。この答えはとても重要で、本当に注目すべき、壮大なものなのです…


リングの帰還 - シーン1


The world has changed. I feel it in the water. I feel it in the earth. I smell it in the air. Much that once was is now lost, for few now live who remember it. It began with the forging of the great vocal technique.




Techniques passed down by voice teachers - immortal, wisest, and fairest of all beings. Pedagogues who knew the value of nasal resonance and ring. One ring to rule them all. [Voice echoes]




History became legend, legend became myth, and some things that should not have been forgotten were lost. For the hearts of voice teachers are easily corrupted. For voice teachers above all else desire power.




And thus something happened that the ring did not intend. In the back of the pharynx, in the pillars of the fauces, the soft palate forged in secret a master plan to rise up.




Blocking the nasal cavity, he poured his cruelty, his malice, and his will to dominate all voices. One by one the free and healthy voices of the earth fell victim to power instead of ring. And for two and a half ages ring passed out of all knowledge. But there were some who resisted.




For ring has a will all its own. And the time will soon come when nasal resonance will shape the fortunes of all singers. For within ring is the strength to govern the mix.




Now come the days of the ring. May they be blessed.




1. 大きな間違い


Uh...yeah... So, Justin, tell us how you really feel about the soft palate. Now obviously that's just for fun. 




But this issue of the soft palate is so important and so misunderstood that it's truly epic in its proportions.




In fact most voice teachers are probably going to tell you that you need to lift the soft palate in order to hit higher notes when in fact this is not true.




So today we're going to finally put this mystery to rest. And also learn why it's not necessary to raise the soft palate. Oh! [Freaky noises] Sorry about that.






So, what is the soft palate? The soft palate is essentially the back top of your mouth. If you take your tongue and put it in the roof of your mouth you feel something hard, a boney surface. That's your hard palate.




But if you slide your tongue to the back you feel it start to get soft and fleshy. That's your soft palate.




Now your soft palate essentially is a nasal cavity blocker. When you raise it up you block your nasal cavity.




The purpose of the soft palate is for swallowing and things like yawning. When you swallow the soft palate lifts up so that food can travel into your esophagus and not get into the nasal cavity.




If you've ever laughed before while drinking some water you know that it comes out your nose. That's when the soft palate didn't do its job. So that's really the purpose of the soft palate, is to block the nasal cavity from things that should not be getting into the nasal cavity.






But here's where the epic misunderstanding came in.




Singers often have a problem sounding nasal. And voice teachers want to address that issue of sounding nasal.




But now we already talked about this a bit. If you remember in episode 2, what is it that produces a nasally sounding sound? Is it the nasal cavity or is it the larynx and cords?




And in fact it's the second! It's the larynx and cords that causes the nasal sound that people don't like. And it's not the head resonance that comes from the nasal cavity. So this is where all the problems started. 




Singers, when they go to high notes, tend to raise the larynx too much and squeeze the vocal cords. I'm going to show you how this works again with a sound demo.




Let me first raise my soft palate. Right now my soft palate is raised. And you can hear that the sound is in my mouth and in my pharynx.




Now what if I raise up my larynx and also pinch my vocal cords. My soft palate is still raised I have no nasal resonance in my voice right now. But I sound very, very nasal.




So that proves it, I can make a nasally sounding sound with zero nasal resonance and my soft palate completely up.




And that's the whole misunderstanding right here. We want independent larynx and cord control from the soft palate.




Now, yes raising the soft palate can encourage a lower larynx and looser cords. But really it's a separate thing.




So we can actually keep the soft palate a little bit down and not sound nasal. And in fact we don't want to have to raise the soft palate. Oh! [Freaky noises] Sorry about that. That keeps happening.




2. 軟口蓋とその犠牲


So let's talk about the costs of raising the soft palate.






Usually when we raise the soft palate we end up with a depressed larynx and a larynx that can't move. That's from over emphasizing this space down here and raising the soft palate encourages that.




So we end up pushing the larynx down and not allowing it the freedom to move when we're thinking too hard about raising the soft palate.






The next thing is we're blocking one of our critical resonators when we lift the soft palate.




The pharynx has three spaces - The laryngopharynx, the oropharynx and the nasopharynx.This resonator and these resonators are great. But the nasal cavity itself is also an awesome resonator and an awesome sounding resonator.


咽頭には3つのスペースがあります。下喉頭と、中咽頭と、上咽頭です 。これらの共鳴腔は確かに素晴らしいものですが、鼻腔自体もとても良い共鳴腔で、とても良い響きがするものなのです。


When you lift the soft palate up you block your nasal resonance completely. Often voice teachers will say to singers, "put the sound in the mask" or "bring the sound forward", but also will say to "lift the soft palate". This is impossible.




The only way to get the sound in here somewhat is by having the soft palate moderately lifted or slightly down.


鼻腔にいくらか声を持っていく唯一の方法は、軟口蓋を少しだけ持ち上げるか 、少し下げるかなのです。




The last thing is, with the soft palate up people tend to retract their tongues and jam their tongues back. This is another limitation for the voice, to always have the tongue back. But by thinking of the soft palate up we tend to jam the tongue back.




So those are the costs of raising the soft palate.




3. 軟口蓋を下げることの利点




Some of the benefits include, first of all, higher notes. With the sound allowed into the nasal resonance and into the nasal cavity we're inviting greater flexibility, greater agility, and just an easier time stretching the voice up to higher notes.




So actually by keeping a moderate lift or a slight drop to the soft palate, high notes become even easier.






The next thing you get is greater laryngeal variety. Which means that you have a freer larynx and also you can sing more styles.




When you have access to these resonators the larynx will have more possibilities, more possibilities for a free larynx equals more styles of singing.






And then finally that quality of ring that we're talking about. Alright. When you have the sound up into the nasal resonance that ringing quality that we love so much in voices, that's the only way that that's possible.




You hear this sound in every style. It's a balance of the pharynx resonance, (the throat resonance) and the nasal cavity resonance. Those sounds blended together just sound absolutely fantastic.




So those are some benefits to keeping the soft palate slightly down so that you can have nasal resonance.






But now, are you ready to go? We're going to really slay the soft palate here with an exercise. [Sounds of victory]


さて、準備はいいでしょうか?次のエクササイズで一緒に軟口蓋を倒しましょう。(敵キャラを倒す - 勝利の剣)


An exercise as simple as a hum. That's right, when you hum or when you do an M sound, the sound must be in the nasal resonance. There's no other way to do it. If the soft palate is up you cannot hum and you cannot do an M.




So today we're going to feel what it's like to have the sound in the nasal resonance and you guys are going to feel actually how good it feels to sing with nasal resonance involved.




So here we go, guys down here... And ladies up here... And here we go together...[Exercise]


では行きましょう。男性は下で、「ンー *」。女性は上で、「ンー」。一緒に行きましょう!(ハミングのエクササイズ)


*訳注:日本語だと「ん」の文字は一つですが、英語だとM, N, NGの三つがあり、今回はMです。唇を閉じて「ンー」と発音しましょう!


Fantastic. So now you guys have seen what it's like to slay the soft palate and have the sound resonating in the nasal cavity.




So, Mariella and all, I hope that this has finally dispelled some mysteries about the voice and about the soft palate's lifting.




And I thank you so much for joining me on a quest that has truly been epic.




リングの帰還 - シーン2


Singers... Classical, contemporary, my brothers my sisters, a day may come when the soft palate will rise again.


(シーンが変わって)シンガーよ。クラシック、コンテンポラリー* の兄弟姉妹よ。軟口蓋の上がる時は再び訪れるかもしれない。




When we forsake all head resonance and break all vocal registration, but it is not this day.




An hour of jammed tongues and bewildered larynxes when all high notes come crashing down, but it is not this day.




If by my life and death I can protect you, I will. Soft palate, I will bring you down... For singers.













※この翻訳は、Justin Stoney氏の許可のもと掲載しています。無断転載はおやめください。