Sing Better by Raising the Soft Palate

How To Sing With The Soft Palate

Learning to control the soft palate effectively is paramount to a healthy singing voice – as one of the only voluntary muscles associated with singing, the diaphragm and vocal chords being involuntary muscles too, respectively, the soft palate can be thought of as the gateway to bright resonance, or as it’s sometimes called “the door to the nose”. Using your soft palate in the correct manner ensures consistent resonance and proper air flow on each of your resonant sounds. In essence ‘closing’ on a vowel sound, and ‘opening’ on a resonant consonant or hum like an “N” or “NG” sound.

Controlling the soft palate when you sing is a super basic skill, but one that is often implemented by the very best singers, and is often brushed off by coaches that have simply forgotten when it was like to be a complete beginner with no understanding of the voice – or worse, keep it as a secret to be revealed only when you purchase their expensive course.

In this singing tutorial, I’m going to demonstrate the importance of soft palate control in singing, along with showing you practical ways to implement this important, yet often misused aspect of your voice.

  • A correct vowel features a closed but raised soft palate (no airflow through the nose/velar port, but a raised palate)
  • An open-resonant consonant sound such as N or M features an open soft palate (airflow through the nose/velar port)

What is the soft palate?

First up, what exactly IS the soft palate? The soft palate is the soft, fleshy ‘flap’ at the back of your throat, attached to the hard palate (ie: roof of your mouth) that among other important tasks, controls airflow to your nose by either opening, or closing. You likely have control over your soft palate already without knowing – every time you sneeze, you actually build up pressure behind a closed soft palate, then let it ‘burst’ through the door and into the nose to dislodge and disrupt a blocked nose. You also use the soft palate when you breathe through your nose, and also when you yawn, which is why some ill advised voice coaches out there have been known to tell people to ‘yawn’ before they sing. This is very improper advice and will do your voice no good, so listen up and learn how to use your soft palate the right way.

How do you control the soft palate?

To illustrate control over your soft palate, lets first try breathing through your mouth ‘only’ – this is a closed soft palate. Now, try the same thing by breathing in through your NOSE only, this is an ‘open’ soft palate. The key to singing is learning to control the open/shut mechanism of the soft palate, while also keeping it raised to create space and allow resonance to balance between the three vocal resonators; the pharynx, the mouth and the nasal cavity.

When you sing a vowel sound, the palate should raise high into the back of the head, while also blocking off airflow through the nose (closed but raised), where an open-resonant consonant sound such as N, NG or M features an open soft palate involving nasal airflow.

Learning to control the soft palate to sing with an open throat will increase your range, build your resonance and also release strain from your voice as you ascend. The best way to develop this simple mechanism is to deliberately close your soft palate before you train each of your vowel sounds. If you make a habit out of implementing the soft palate in this way, then proper soft palate use will be the healthy habit that you build and it will become second nature. The soft palate is a natural function of your voice, so I like to include soft palate control in my student’s foundation so that it is developed from the beginning as part of their set up.

What is open throat singing?

Open throat singing is one of those classical singing terms that has unfortunately also been turned into a marketing term to sell expensive singing courses. The term Open Throat is a very literal translation of the Italian opera term, La Gola Aperta – now, if you know anything about metaphors, it’s that they are a figure of speech, not a literal instruction. This is where the confusion about open throat singing comes from, because, singing actually requires closure of your singing mechanism and central coordination of different elements which in effect, all close when you sing. This literal interpretation of a harmless metaphor creates so much confusion in singers who are learning to coordinate their voices that I simply don’t use this term anymore myself. To illustrate my point, here’s three very important aspects of your singing voice that directly contradict the term Open Throat:

  • Your vocal chords close (adduction)
  • Your velar port closes 
  • Your vowels narrow (resonance tuning)
  • The Supraglottis partially closes (compression)
  • The Epiglottis partially closes (twang)
  • Recoil of the diaphragm is limited (support)

As you can see, the main elements of your singing voice actually require closure of some degree to create resonance. I often meet with new students and point out that their endeavour to ‘open’ their throats is causing the majority of their issues and hindering their progress majorly, only to discover the release and freedom that is created when you achieve effective closure in the vocal mechanism and learn to direct your resonance properly.

Raising your soft palate is another one of those ill-instructed processes that often cause an issue in beginner singers before they truly understand the mechanism of their voice. A simple singing fact is that if you raise your soft palate by ‘opening’ into the nasal passage, you are singing incorrectly and you will not resonate efficiently – along with creating a nasal tone that will be impossible to tune higher in your range. Keeping your soft palate closed while it raises to alter the resonant space along your pharynx is an important skill in singing, but you should take care not to confuse this with an open soft palate.

Open throat singing is more the intention and application of singing without throat strain, so a more literal interpretation of this figurative metaphor would be to call it “no throat” or “singing without throat tension”. The only element that opens is actually your vowel back into the pharynx when you raise the soft palate in the right way. Learning to control the soft palate correctly is one of the first things you need to do to build a strong vocal foundation and ultimately develop the voice of your dreams.

A great place to start is this exclusive Mixed Voice singing lesson which will show you how to streamline the confusing learning curve faced by many singers into an effective and efficient method of learning how to sing – A strong singing voice requires a strong foundation.

If you’d like to hear what all the fuss is about with the Foundation vocal approach, here’s just a few examples of what I’m achieving now that I’ve learned to use the soft palate correctly when I sing – just imagine how incredible you’re going to sound once you’ve learned to open your vowels correctly!

6 thoughts on “Sing Better by Raising the Soft Palate

  1. Hi my name is Kim. When I sing my soft palate will not close of my nose for the a and I vowel. How is it that my soft palate lifts for the e,o and u, but not I and a?What can I do to fix this?

    1. Hi Kim!

      How are you shaping these vowels? If you mean AH, then it’s tongue low and concave, and then EE is tongue raised. “i” doesn’t exist as a vowel in singing and is generally replaced by an AH vowel.

      Hope that helps!


  2. Hi! From what I understand, you’ll produce a better sound when your nasal passage is closed (creating a more efficient resonance) and you’re singing entirely through your oral cavity. However this is only possible for vowels – when producing ng, m or n sounds you need to open the nasal passage. So my question is, are you supposed to only sing through your oral cavity UNLESS you’re producing ng, m or n sounds? When should you sing through both oral and nasal passages? I find I’m constantly opening and closing my nasal passage, which sounds and feels weird.

    1. Absolutely correct! So, on vowel sounds the soft palate raises to alter your resonant space through each range/passage of the voice – but a consonant sounds such as N or NG it opens/opens partially to allow airflow through the nose. You don’t necessarily “close” the soft palate on the vowels however as it actually raises – closed/raised are not necessarily the same thing!


        1. Hey Harmony! There’s really two processes involved, #1 is to close and open the velar port. This port allows or blocks airflow from the back of the throat to the nose – vowel sounds are blocked so there’s no airflow through the nose, but N, NG and M all travel through the nose as the port is open. Now, the soft palate itself can be raised with the beginning of a yawn – or even if you inhale with a quick, surprised “OH!” – you’ll notice there’s cold air at the back/top of your mouth where the soft palate has raised. This allows resonant space for each of your vowel sounds through each break period, either wide or narrow respectively. Hope that helps!


Leave a Reply