The cornerstone, the center of gravity, or however you describe the term “mask” in the process of singing, proves how extremely important it is for the quality, power, and homogeneity of the vocal sound. The control of support in breathing (read more at the article about breathing), while the sound finds an “open space” within the oropharyngeal cavity (read more at the article about the mouth) and the targeting of the voice towards the resonator of the mask, show us the right direction for mastering homogeneity, volume, and dynamics in our vocal instrument.

The activation of the mask while singing and the support of the diaphragm to hold back the breath are the two main elements that a singer is first trained in, and they are the ones that “collaborate” in order to achieve homogeneity and power (i.e., the ability to project the vocal sound) at a primary stage. Almost at the same time, as the cooperation of these two is improving, there comes the element of the mouth, playing a significant role, too. With the contribution of the open “dome” in the oropharyngeal cavity and the shaped articulation, the “mouth factor” is integrated and completes the best possible result in the sound production of the vocal instrument.

To begin with… If the sound is not guided towards the mask, then the result is a voice that’s weak and blurred, has low frequencies mainly, is lacking in “presence” (power and projection), and is incapable of maintaining a steady, resonant, and homogeneous sound throughout its range. An even worse consequence of the above is the gradual fatigue of the voice that results in hoarseness, pain, and the development of a callus or even a polyp on the vocal cords.

Singers must understand how to project their sound onto the mask and learn to recognize when it succeeds and when it does not, in order to develop a strong personal criterion, which will protect them from the aforementioned risks. I would like to emphasize at this point the enormous importance of completely understanding the sensation of the resonator of the mask, because it is very common for a singer to believe that they have “enabled” the mask, just because they produce a nasal sound. Unfortunately, things are not so simple.

The activated mask throughout the range of the voice ensures the homogeneity of the sound since the high notes are given strength and volume with the assistance of suitable air pressure through the support of diaphragmatic breathing. Similarly, the low notes maintain their presence,  while the mask “uplifts” and “cleanses” the frequencies that have the tendency to weigh down.

Finally, when you join all three elements: Support – Mouth – Mask, then the most open sound can be achieved, full of vibrating energy, volume, and dynamics.