| A student can be diagnosed with four different incorrect breathing methods: |
| Upper-chest breathing is classified by visible rising and falling motions of the chest. Part of this problem will be fixed when posture faults are addressed. The student must be made aware of this fault and must be reminded of their goal to breathe properly. Upper-chest breathing results in shallow breathing and excessive tension. |
| Rib breathing is generally a result of poor training, in which the rib-cage is the only thing expanding during the act of breathing. This can result in excessive tension, and often happens when a student is trying to suck in their gut while singing and taking expansive breaths. Elimination of postural tension and increased attention to the expansion of the upper abdomen can fix this fault. |
| Back breathing is much like rib breathing, only the back is the sole expander instead of the ribs. This is wrong if the expansion of other areas is limited. If frontal expansion is encouraged, back breathing should be limited. |
| Belly breathing occurs when a student is instructed to push against his or her belt when he or she sings. This locks the diaphragm in place and does not allow it to release tension, forcing a singer to find other means of exhalation. Belly breathing results in poor posture, and a singer can often appear shorter throughout a phrase if he or she incorporates belly breathing. If posture is fixed, belly breathing should cease to be a problem. |
| There are many different theories relating to voice registers, one of the most popular being that of four voice registers. Singing too long in any register but the modal voice register can seriously damage the voice. Make sure your students are aware of the risks of unhealthy singing! |
| Vocal fry register is extremely low in pitch, and is often distinguished by a popping or rattling sound. Too much use in this register can result in vocal damage, including loss of high notes. |
| Modal voice register is the normal singing and speaking register. A well-trained singer can sing two or more octaves in this register while continually adjusting the vocal tract. Most singers sing entirely using modal voice register. |
| Falsetto register is present in males and should only be used sparingly, as excessive singing can result in vocal damage. This register can make pitches above the modal register available for men, and can also make pianissimo tones near the top of the modal register available. The quality of falsetto singing is breathy and flute-like. |
| Whistle register is only present in female voices and in small children. This is the highest phonational register, and is used by some women to reach tones higher than those attainable in modal voice register. Like vocal fry and falsetto registers, too much use of this register can damage the voice. |