Chris Johnson is a professional singer turned vocal coach who has worked with major label artists, West End leads, backing vocalists, singer/songwriters, and vocal coaches. He is also the creator of Teach Voice, a program that helps singing teachers up-skill and develop their technical and business acumen. He joins Alexa on Singing Teachers Talk to discuss all things articulation and singing when it comes to assessing jaw behaviour. 
KEY TAKEAWAYS

The jaw plays an important role in singing as it affects the resonance and tone quality of the voice. Tension in the jaw can cause a strain on the voice, affect breath support, and hinder vocal range. Singers are often encouraged to relax their jaw muscles and maintain a loose, open jaw to allow for better resonance and vocal production. Proper jaw alignment and movement can also help with diction and articulation in singing. 
The jaw can affect pitch and register in singing because it is connected to the tongue, which plays a crucial role in shaping the sound of our vocal cords. If the jaw is tense or locked, it can limit the movement of the tongue and make it more difficult to produce certain pitches and registers.
Ultimately, the key to using the jaw to affect pitch and register is to maintain a balance between freedom and control. Too much tension can restrict the movement of the tongue and limit vocal flexibility, while too little control can lead to sloppy diction and poor vocal technique.
An under or overbite can affect pitch and register in singing by altering the position and tension of the vocal folds, as well as the resonance of the vocal tract.
In the case of an underbite, the lower jaw may protrude forward, which can cause tension in the muscles surrounding the larynx and vocal folds. This tension can lead to a higher pitch and a strained or pressed sound. On the other hand, an overbite may cause the jaw to retract, resulting in a looser and more relaxed position of the vocal folds, leading to a deeper or more relaxed tone.

BEST MOMENTS
‘The jaws function and range of movement is unrestricted’
‘A lower larynx tends to have a warmer sound’ 
‘A lot of stability issues are because of the jaw’ 
‘The tongue needs to make up the pronunciation from the lack of mobility in the jaw’
EPISODE RESOURCES 
Guest Website:

Teach Voice: teachvoice.com
Coaching: chrisjohnsonvocalcoach.com
Podcast: thenakedvocalist.com

Social Media: 

Instagram: @teachvoicetraining
Instagram: @chrisjohnsonvocalcoach

Relevant Links & Mentions: 

Singing Teachers Talk Podcast: Ep.44 - Exploring Vocal Registers with Chris Johnson: https://linktr.ee/basttraining?utm_source
Artists mentioned: Boys2Men; Amy Winehouse; Adele; 
Anatomy of Voice by Blandine Calais-Germain & Francois Germain
Stephen King: https://voicecarecentre.co.uk/stephen-king/
Feldenkrais Principles: https://feldenkrais.com/
Circle: https://circle.so/
Teach Voice Contact: teachvoice.com/email

ABOUT THE GUEST Chris Johnson started his performance career in a casual choir before working as a professional singer for 12-years. During the early part of his career, Chris’ busy schedule took its toll on his voice. Narrowly missing a serious vocal injury, he relearned his instrument and started on a never-ending journey of vocal development. 
After seeking help and turning his own seemingly ‘hopeless’ voice around, Chris realised he might also be able to help other singers and moved into vocal coaching. 
Chris has worked with major label artists, West End leads, backing vocalists, singer/songwriters and vocal coaches. He also helps singing teachers worldwide to up-skill, navigate the overwhelming amount of pedagogical options, and develop their own technical and business acumen, mainly via the courses he delivers through his programme: Teach Voice. 
Chris has also trained in manual laryngeal therapies and studied with scientists in vocal acoustics, physical and somatic therapy, and laryngology. He’s also one half of The Naked Vocalist podcasting/