How to access the "mask" when singing

“Mask resonance” is one of the most common concepts in bel canto. It describes the forward ring and vibration many singers feel in the front of the face—around the hard palate, cheekbones, nose, and forehead. The pharynx are also in this lane, but I'll save that for another article.

A simple way to picture it: if you wore a literal face mask to a party, the “mask” sensations tend to show up in that region. And you already do this naturally—especially when you speak, laugh, or call out across a room.

The goal isn’t “placement.” It’s access.

I’m not a fan of the word placement, because it often encourages people to do something—push, squeeze, or “put” the sound somewhere. A better frame is: create space and allow access. When the vocal tract is free enough, the voice organizes itself more efficiently—and the sound can “light up” forward without strain. In other words: your voice already knows how it wants to resonate. Too much interference usually adds tension and blocks what’s natural.

A classic reference: Lotte Lehmann’s resonance map

Lotte Lehmann sketched a diagram showing where she felt notes “live” in the mask across her range. Use it as a sensory map, not a rulebook: everyone’s anatomy is different, and your sensations will be your own.

“Head voice” sensations start beyond the mask

Above the mask region, many singers report resonance sensations that feel higher—toward the top of the head (what people often call “head voice”). One of my favorite teachers used to joke: to sing high notes well, you have to be an airhead.

And on the way to becoming an airhead on a high C, many people describe first becoming a unicorn on a high A. (If you know, you know.)

Low notes still project from the mask

Here’s a key bel canto point: even when the register is chest-dominant, the sound can still carry forward. Yes—your chest will resonate in the lower register (you can often feel it with your hand). But the resonance shouldn’t be shoved straight out of the chest. Instead, it’s allowed to travel upward and project from the mask.

That’s one reason people argue endlessly about whether bel canto singers “use chest voice.” The chest resonates, of course—but the projection strategy stays buoyant and forward.

Overtones, undertones, and the “dome”

Every pitch contains overtones (and, perceptually, undertones). A stable, beautiful sound happens when the instrument is free enough to let those partials bloom—often described as a resonant “dome.” This is why space and freedom matter so much. When we over-focus, we tend to narrow. When we allow, the voice can organize and ring. The result: an even, elegant sound with blended registers.

Quick practice: 4 ways to invite mask resonance

Try these gently—no forcing, no “shoving it forward.” Your job is to notice where vibration appears when things are free.

1. “NG” (as in sing) Sustain a comfortable pitch on ng and feel the front-of-face buzz. Keep the jaw and tongue soft.
   

2. Hum on “M” Light hum on a Sol–Fa–Mi–Re–Do pattern. Let the lips be lazy; aim for effortless ring. Don't lose buoyancy on the bottom notes.
   

3. “Nay / Neh” (tiny, bright, not loud) A small, clean “nay” can help some singers find clarity quickly—only if it stays easy.
   

4. “L” sirens Glide gently through a fifth on “lah,” keeping the tongue tip light and forward.

   
   

If any drill makes you tighten, back off and return to something simpler (often a hum).

If you’d like help finding mask resonance without tension—and tailoring it to your specific voice and repertoire—this is exactly what we work on in lessons.