The sinking or lowering of the larynx
Let's delve into the most crucial aspect of the Melocchi technique: lowering or sinking the larynx, known in Italian as the 'Tecnica dell’affondo.' There are varied opinions on what this technique involves, its objectives, and the correct way to execute it. To begin, it's essential to highlight the many benefits that come with lowering the larynx.
wering the larynx enlarges the primary resonating space in the back of the pharynx, producing a voice that is richer, darker, and clearer. When combined with a raised soft palate, it creates a tube-like structure for optimal vocal resonance. Maintaining the larynx in its lowest position allows the cricothyroid muscles to lengthen the vocal cords without constricting the resonating space. This keeps the throat open, enabling the singer to achieve a consistent sound throughout their entire vocal range.
However, if the larynx rises, the vocal tract shortens, causing the throat to close, especially in the transition zone (zona di passaggio). This forces the singer into a difficult choice when ascending the scale: either lighten the vocal production, resulting in a small, nasal sound, or keep the sound open and push through the passaggio, risking a shouty tone and potential vocal strain.
The main challenge lies in training the larynx to adopt a position that is not natural in everyday speech. This requires specialized vocal exercises to retrain the laryngeal muscles responsible for lowering the larynx. Initially, beginner singers might experience vocal fatigue during early lessons, because the voice is not used to working in this deep laryngeal position. However, as the muscles strengthen, the singer can maintain an open throat effortlessly, leading to remarkable vocal stamina.
Techniques to train this laryngeal position include inhaling as if yawning—a method often recommended by Franco Corelli—and imagining drinking or inhaling the sound. These strategies help counteract the natural impulse to raise the larynx when reaching higher pitches. In future posts, I will explore specific vocal exercises used by Arturo Melocchi and Marcello del Monaco to develop their students' voices.
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