Singing Smarter: What Seth Riggs Taught Me About the Low, Stable Larynx
When I first came across the work of Seth Riggs, I was already years into my singing career. I’d done studio sessions, performed on stage, and even taught others a few things I’d picked up along the way. But everything changed the day I started truly applying his approach—particularly his focus on maintaining a low, stable larynx.
If you’re not familiar with Seth Riggs, he was the man behind the vocal techniques of some of the biggest stars in the world—Michael Jackson, Stevie Wonder, Ray Charles, Natalie Cole, and so many others. His method, Speech Level Singing (SLS), is built on one simple but profound idea: you should sing with the same ease and balance you use when you speak.
One of the cornerstones of that technique—and a game changer for my own voice—is learning to keep your larynx low and stable throughout your vocal range.
What is the Larynx and Why Is It Important?
The larynx, often called the “voice box,” sits in your throat and houses your vocal folds. When you speak or sing, it adjusts position, shape, and tension to help produce pitch and tone. However, how you manage your larynx directly affects the quality and longevity of your singing voice.
When we speak in a normal, conversational tone, the larynx typically stays in a relaxed, neutral position. This allows our vocal folds to vibrate freely with little resistance. But as singers, especially when we reach for higher notes, there's a natural tendency to raise the larynx, either out of habit or as a subconscious reaction to vocal strain.
The Dangers of a High or Unstable Larynx
When the larynx rises too high during singing, it creates a domino effect of vocal issues:
The throat muscles tighten, limiting resonance.
The tongue and jaw may tense, reducing flexibility.
The vocal folds can become pressed, leading to fatigue or even vocal damage.
Most critically, it becomes almost impossible to transition smoothly through your vocal registers—from chest voice to mix, and mix to head voice.
You end up fighting your voice instead of flowing with it. That fight leads to cracking, straining, and inconsistency.
I’ve seen it countless times with students—some who’ve sung for years—and even experienced it myself when I was pushing for power instead of supporting my voice properly.
Seth Riggs' Approach: Keep It Low and Easy
Seth's genius was in teaching singers how to train the voice to work efficiently, just like it does when we speak. He believed that singing shouldn't feel like work, especially not the kind of work that strains the instrument. He often said, “If it hurts, you’re doing it wrong.”
By keeping the larynx low and stable, the vocal folds can stretch and thin naturally, giving you access to high notes without strain. You get clarity, ease, and the freedom to mix registers smoothly—essential for modern singing.
Exercises I Recommend (Based on Riggs' Methods)
If you’re looking to put this into practice, here are a few exercises I’ve used and continue to teach, inspired by Seth’s method:
Dopey Voice Slides ("Duh")
Start by saying “duh” in a slightly dopey, sleepy tone. Notice how your larynx naturally lowers. Now, try singing a five-note scale using that same tone. This helps you feel what a low larynx feels like and builds muscle memory for that position.The Yawn-Sigh Technique
Take a gentle yawn and notice how open your throat feels. Then let out a sigh on a comfortable note. This helps encourage relaxation and a low-larynx posture. Try singing a short phrase immediately afterward and notice the difference in ease.Nay-Nay-Nay in a Bratty Voice
One of Seth’s signature tricks. Say “nay nay nay” like a bratty kid mocking someone. Sing a scale on this bratty tone. It helps bring the cords together efficiently and keeps the throat from overcompensating. While the larynx may rise slightly, the goal is to maintain balance and avoid overcorrection.Bubble Lip Trills with a Neutral Larynx
Bubble lips (or lip trills) are a great way to find natural airflow and support. Combine them with a mental focus on keeping the larynx in a low, neutral place. This allows your voice to “stretch” into higher notes without the need to push.Mirror Practice
Look in a mirror as you sing. Watch for unnecessary neck tension, tight jaw movements, or the larynx jumping up. Over time, you’ll learn to spot and correct tension before it becomes a habit.
My Journey: From Pushing to Precision
I used to be a “pusher”—meaning, I thought more effort meant more power. But singing isn't about brute force; it’s about coordination. When I started applying the Speech Level Singing principles, everything changed. My high notes became effortless. My tone evened out. I could sing longer and with more emotional expression because I wasn’t “holding on for dear life” anymore. The low, stable larynx was a key piece of that puzzle.
Singing is both an art and a science. And while there’s always room for passion and expression, having the right technical foundation gives you the freedom to express without limitation. Keeping your larynx low and steady is one of the most powerful habits you can develop as a singer.
If you're struggling with tightness, breaks, or vocal fatigue, I’d be honored to work with you. Whether you're a beginner or a seasoned pro, this technique can unlock things in your voice you never thought possible.
