Unlocking Your Voice: The Power of Laryngeal Tilt
- Craig Shimizu
- Oct 28, 2025
- 4 min read
Updated: Aug 9
Why I Spent Twenty Years Singing With My Finger on My Throat
If you've ever struggled with high notes, a tight throat, or a voice that suddenly becomes thin or strained, you've probably experienced the effects of excessive laryngeal movement—even if you've never heard the term laryngeal tilt.
Ironically, my own understanding of this began with a mistake.
When I was a classical voice major, I couldn't sing a single note without my larynx immediately rising. My instructor taught me to place a finger on my Adam's apple, lower my larynx about half an inch before singing, and keep it there throughout every phrase.
It worked.
At least...partially.
The larynx stopped rising.
But something else happened.
My voice became unnaturally dark and heavy. Everything I sang—from Japanese songs to pop music—took on an operatic color. Friends began referring to me as "the opera singer," and it wasn't intended as a compliment.
That experience eventually taught me one of the most important lessons of my career.
The goal isn't a lowered larynx.
The goal is a balanced one.
What Is Laryngeal Tilt?
Laryngeal tilt refers to a subtle forward movement of the thyroid cartilage caused primarily by the cricothyroid muscles.
This movement lengthens and thins the vocal folds, allowing singers to produce higher pitches more efficiently.
Many outstanding singers exhibit this coordination naturally.
The important point is this:
Laryngeal tilt is not something you should try to force.
Instead, it is usually the result of healthy vocal coordination.
The Problem Isn't That the Larynx Moves
One of the biggest misconceptions in singing is that the larynx should never move.
That's simply not true.
Your larynx moves every time you speak.
It moves when you laugh.
It moves when you swallow.
Healthy singing also involves natural movement.
Problems occur when singers begin pulling the larynx excessively upward through
unnecessary tension or locking it unnaturally low.
Both extremes interfere with natural vocal function.
Over many years of teaching, I've found that the most consistent, flexible voices begin from what I call a neutral, relaxed position—neither artificially lowered nor excessively raised.
A Discovery I Never Expected
Although lowering the larynx permanently proved to be the wrong goal, one part of my early training stayed with me.
Touching my larynx.
Whenever I practiced, learned a new song, or explored difficult passages, I almost always rested a finger lightly on my larynx.
Not for weeks.
Not for months.
For nearly twenty years.
Eventually I noticed something surprising.
When many singers lightly touch their larynx, their voice immediately becomes freer, clearer, and easier to control.
I've observed this with complete beginners, tone-deaf students, experienced performers, and professional singers.
My current belief is that the gentle touch provides additional sensory feedback. Because the larynx moves constantly during speech and singing, most people are barely aware of its movement. A fingertip may simply help the brain recognize unnecessary motion or tension that previously went unnoticed.
While more research is needed to understand exactly why this happens, the improvement is often immediate.
The Lesson I Wish I Had Learned Earlier
Early in my career I believed:
Lower the larynx.
Today I teach something very different.
Don't force the larynx at all.
When breathing, resonance, vowel formation, and vocal fold coordination work together efficiently, the larynx usually settles into a healthy, balanced position on its own.
Instead of trying to manipulate anatomy, I help singers develop the conditions that allow the voice to organize itself naturally.
Ironically, when singers stop trying to control every muscle, the voice often becomes more powerful, more flexible, and easier to produce.
Why This Matters for Every Style of Singing
Whether you sing:
Musical Theatre
Pop
Rock
Jazz
Country
Classical
Contemporary Worship
Japanese songs
Public speaking
The goal is not to sound like an opera singer.
Nor is it to sound artificially bright and squeezed.
Healthy singing allows the voice to retain its natural character while gaining freedom, resonance, and consistency.
From the Practice Room to the Stage
Over the years I've had the privilege of helping beginners discover their voices, preparing students for musical theatre productions, coaching contest winners, and working with performers of all ages.
The biggest lesson has surprised me.
The voice works best when we stop fighting it.
Instead of forcing individual muscles into position, we create the right conditions for efficient coordination.
When that happens, many technical problems—including excessive laryngeal movement—often begin resolving themselves.
Want to Experience the Difference?
If your high notes feel tight...
If your voice tires easily...
If you've been told to "just lower your larynx" but still struggle...
There may be a better approach.
In a lesson, I focus on helping singers discover the vocal coordinations that allow the voice to function naturally, efficiently, and with confidence.
You may be surprised how quickly your voice responds when you stop forcing it.
Schedule a trial lesson and discover what your voice is capable of.
Frequently Asked Questions
Does laryngeal tilt help with high notes?
Yes. Efficient laryngeal tilt allows the vocal folds to lengthen more effectively, making high notes easier and more stable. However, trying to force the movement is usually counterproductive.
Should I lower my larynx when I sing?
Not intentionally. An artificially lowered larynx often produces an overly dark or "covered" tone. Healthy singing generally begins from a relaxed, balanced position.
Why does my larynx rise when I sing?
It can happen because of tension, reaching for high notes, inefficient breath coordination, or excessive effort. The goal is not to freeze the larynx but to reduce unnecessary tension and allow natural movement.
Can touching my larynx improve my singing?
Many singers report that a light touch provides useful feedback about unnecessary movement or tension. While this isn't a substitute for proper training, it can be a valuable awareness tool during practice.
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