‘Forward’ Is NOT Forward: Setting the Record Straight on Vocal Placement and Resonance

Introduction: Why This Matters

Ask nearly any singer what they’ve heard in a lesson or rehearsal, and you’ll likely hear the phrase: “Place the tone forward,” or “Sing it in the mask.” These words have been passed down for generations, and they sound simple enough. Who wouldn’t want a “forward,” resonant tone?

But here’s the problem:

You cannot place a sound.

Internationally respected voice scientist Dr. Johan Sundberg demonstrated decades ago that sound waves cannot be “moved” to the front of the face, the forehead, or anywhere else. What singers often feel as vibration in the nose, cheekbones, or behind the eyes is not something they are causing directly. It is a result of efficient singing, not an action.

And when this misunderstanding is carried into teaching, it can lead singers down years of frustration, confusion, or even vocal strain. It’s time to set the record straight — with clarity, respect for tradition, and current voice science as our guide.

What Resonance Really Is (and Isn’t)

Resonance in singing is not about where you “send” the sound, but how your vocal tract — the throat, pharynx, mouth, and nasal cavities — shapes and amplifies the vibrations coming from the vocal folds.

Here’s the process, simplified:

The vocal folds vibrate at the larynx, producing a buzzing source tone (fundamental frequency plus overtones).
The vocal tract shapes this buzzing energy through resonance, selectively reinforcing some frequencies and dampening others.
The result is the singer’s tone quality — rich, ringing, or dull, depending on how efficiently the system is working.

Italian pedagogue Francesco Lamperti put it this way: “The vowels are formed in the pharynx, not the mouth.” Modern acoustics confirms this — the pharynx is the primary resonator, and the singer’s adjustments of tongue, soft palate, lips, and laryngeal position all contribute to resonance balance.

What resonance is not: a muscular action of shoving the sound “forward.” The tone exists in the resonating spaces; you can’t push it into the forehead any more than you can push a violin’s sound into its scroll.

The Source of Residual Frontal Vibration

So why do singers feel buzzing or vibration in the face? The answer lies in the nature of efficient phonation.

When the vocal folds vibrate cleanly — with complete but not pressed closure, and minimal breath leakage — the sound they produce is vibrant and rich in upper harmonics.
These harmonics are higher-frequency overtones that stimulate sympathetic resonance in the bones of the face.
That “buzz” a singer feels in the mask (the area around the nose, forehead, and cheekbones) is a byproduct of this overtone energy.

If the folds are breathy or inefficient, fewer high overtones are present, and the facial vibration is weaker or absent. That doesn’t mean the singer should chase the sensation. Instead, it means the singer should look at the source: phonation at the glottis and how efficiently it’s functioning.

This is why breath support and balanced onset matter so much. Efficient phonation produces clear resonance. Resonance produces vibration. Sensation is the effect, not the action.

Bone Conduction and Sensory Feedback

Another reason “forward placement” is misleading comes from the way singers perceive their own sound.

When you sing, you hear your voice two ways:

Air conduction — through the sound waves leaving your mouth.
Bone conduction — through vibrations traveling directly through your skull.

Bone conduction emphasizes those higher-frequency overtones. That’s why singers feel a “buzz” in the face, even though listeners simply hear resonance in the tone.

For teachers and singers alike, this is crucial: you cannot assume that what you feel is what the audience hears. Sensations are valuable as feedback, but they don’t define the actual resonance strategy.

Why “Placement” Language Persists

So if “placement” is scientifically inaccurate, why does it remain so common?

The answer lies in pedagogy’s history. Teachers for centuries have relied on imagery and singer-reported sensations. If a great singer described feeling resonance “in the mask,” that phrase was passed down as if it were a cause, rather than a personal description of an effect.

Metaphors can sometimes work, but only when both teacher and student understand that the language is symbolic. Problems arise when metaphors harden into dogma — and students take them literally.

The Problems with “Forward Placement” Teaching

Taken literally, “place it forward” can cause serious issues:

Excess muscle activity — singers may try to push the tone forward by tightening the neck, tongue, or jaw. This often engages the sternocleidomastoid muscles, narrowing the throat and restricting resonance.
Excess breath pressure — in trying to “aim” the sound forward, singers may push too much air, irritating the vocal folds.
Frustration and confusion — singers who don’t feel the “mask buzz” assume they’re failing, when in reality they may simply need more efficient phonation.

Over time, these compensations can lead to vocal fatigue, swelling, or even injury.

When the Sensation Can Be Useful

To be fair, not all talk of “forward” is harmful. For some singers, awareness of vibration in the mask provides helpful feedback that resonance is balanced and efficient.

Great singers of the past, including Pavarotti, often spoke about sensations in the mask. But here’s the key: they were describing their experience, not prescribing an action.

When teachers and singers understand that these sensations are the result of efficient singing, they can be valuable as confirmation. But when misunderstood as the goal, they become a trap.

Better Language and Alternatives

If we’re moving away from “placement,” what language should we use instead? Here are several more accurate and constructive terms:

Resonant balance – describing the equilibrium of space and tone.
Pharyngeal openness – focusing on the primary resonator.
Acoustic alignment – the match between source harmonics and vocal tract formants.
Resonance tuning – shaping vowels to reinforce harmonic energy.
Feedback awareness – noticing sensations without chasing them.

Each of these terms highlights what singers can do rather than what they should feel.

Practical Guidance for Singers

For singers reading this, here are key takeaways:

Focus on a balanced onset: clean, free from breathiness or force.
Allow the pharynx to open during inhalation, creating space for resonance.
Use semi-occluded vocal tract (SOVT) exercises like straw phonation, hums, or voiced consonants (V, Z, NG) to encourage efficient fold closure and resonance.
Notice resonance sensations as signals, not destinations. If you feel buzzing in the mask, great — but don’t try to manufacture it.

Practical Guidance for Teachers

For voice teachers, choir directors, and coaches:

Observe physical habits first — posture, breathing, jaw and tongue tension, neck freedom.
Free the laryngeal muscles before adjusting resonance.
Teach resonance through vowel shaping and acoustic awareness, not by chasing sensations.
Clarify metaphors: if you use them, explain that they are descriptive, not prescriptive.

Why the Right Guidance Matters

Singers make the most progress when their instruction is accurate, clear, and suited to their individual voice. Resonance is not a placement — it is the natural result of efficient vocal fold vibration, healthy breath support, and thoughtful shaping of the vocal tract.

A teacher who understands both the science of voice and the artistry of singing can guide you toward that balance in a way that fits your voice and goals.

If you’re serious about building a healthy, resonant sound, seek out a voice teacher who is up to date with current research and who can customize instruction for your needs. The right guidance ensures that resonance becomes not just a sensation, but a reliable part of your technique.

Conclusion: Setting the Record Straight

“Forward placement” may be one of the most common phrases in singing pedagogy, but it is also one of the most misleading.

Sound cannot be placed.
Residual vibration in the mask is the result of efficient singing, not the cause of it.
Efficient phonation at the folds, supported by balanced breath and resonance tuning, creates the sensations singers often describe.

Respect for tradition does not mean clinging to misconceptions. By teaching and learning with accuracy, we honor the artistry of singing while freeing voices from unnecessary tension and confusion.

Singing is at its best when it is both expressive and free — and that freedom grows from knowledge, not myth.

Want to dive deeper? Explore my posts on alignment, and vocal projection.

🎵 Ready to develop healthy, resonant singing with expert guidance? Book a lesson at Ted’s Voice Academy and work with a coach who understands both the science and artistry of the voice.