Vocal Technique: A Guide to Classical and Contemporary Styles for Conductors, Teachers, and Singers

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Title Page Table of Contents Second Edition Acknowledgements Introduction: A guide to stylistically flexible vocal technique Contemporary styles encompass CCM and musical theatre Second edition coverage Benefits of improved vocal technique Intentional use of exercises is essential to vocal development Our philosophy about exercises Importance of attention to vocal technique in the choral setting Improving communication among singers of different styles and between voice teachers and conductors Enhancing understanding of other styles Enhancing communication between conductors and voiceteachers A note about symbols used in this book A word about terminology Chapter 1: Posture/Alignment Essentials of proper posture/body alignment Achieving good posture/body alignment Important aspects of body alignment Head and chin position Relaxed shoulders Arms, hands, and feet Knees Shoe heel height Common alignment problems Avoid extraneous body movement Sitting posture and seat types Exercises for body alignment Tension release and body alignment “Rag doll” Head position For kids and everyone! Neck relaxation and chin position For kids and everyone! Brain/body coordination For kids and everyone! Body awareness and physical warm-up For kids and everyone! Porcupine and sea star for alignment Body alignment while moving Chapter 2: Breath Control Phases of the breathing cycle Inhalation How to achieve proper inhalation Keep the sternum/chest comfortably high Inhalation should be silent Avoid clavicular breathing (upper chest breathing) Take a full breath, but avoid excessive inhalation Very brief suspension Exhalation Achieving breath support Upper chest breathing results in poor control over exhalation Specific abdominal muscles involved in exhalation The diaphragm plays no role in the control of exhalation Additional points about exhalation Breath metering Higher pitches and dynamic levels require higher breath pressure Additional breath support is critical for leaps in pitch Breathiness of younger voices Recovery Timing of breathing Breathing in contemporary styles—limitations imposed by dancing Respiratory muscle training Breathing exercises Breathing while lying on the back Silent inhalation The sibilant exercise to improve control over exhalation Snap (quick) breath Practice breathing in front of a mirror at home Breath support Experiencing important breath support muscles For kids and everyone! Maintaining breath support For kids and everyone! Big dog For kids and everyone! Hoberman Sphere Don’t drop breathing exercises from your warm-ups too quickly! Chapter 3: Initiation, Creation, and Release of Sound How sound is initiated and created Good hydration is critical for proper vocal fold vibration Components of the singer’s instrument Muscles affecting pitch Controlling pitch and tone through mental images Sound level and timbre affected by firmness of vocal fold closure Variations in the firmness of glottal closure according to style Firmness of glottal closure and a broader conception of breath support Firmness of glottal closure and the “closed quotient” Method of initiating sound affects glottal tension Coordinated onset should be used for most singing Unconscious physical movement makes consistent onset difficult Steps to achieve a coordinated onset Some glottal onsets are useful Problems with hard-glottal onsets Is belting less healthy than classical/legit vocal production? Any style of singing can pose vocal health problems Breathy onset is generally undesirable Onset and younger singers Release of sound Semi-occluded vocal tract (SOVT) exercises assist vocal fold vibration Beneficial effects of SOVT exercises Examples of SOVT exercises Categories of SOVT exercises Two major benefits of SOVT exercises Suggested order of SOVT exercises Carryover effects of SOVT exercises Onset and release exercises For kids and everyone! Onset/connection of breath with sound Exercise to vary breathiness Good onset, good phrase! Encouraging coordinated onset Sustained notes to experiment with glottal resistance Quiet head and body Coordinated release Lip trill SOVT exercise Chapter 4: Resonance Superior resonance improves tonal quality and vocal efficiency Fundamental frequency and higher harmonics Structure of the vocal tract Resonance and formants Formants amplify harmonics just below the frequency of the formant The sound level of various harmonics is also affected by firmness of vocal fold closure and vocal register The most important formants and their frequency ranges Differences in first and second formant frequencies between classical and contemporary styles Singer’s Formant Adjusting the larynx Controlling the vertical position of the larynx Adjusting the oral pharynx Controlling the position of the soft palate Lowering the back of the jaw for classical/legit singing; opening thefront of the mouth for other styles Adjusting the mouth Creating an “inner smile” A modest exterior smile is helpful for classical singing A wider smile is appropriate for many contemporary styles Effect of the tongue on mouth resonance Images to help create space in the mouth Classical versus contemporary resonance and vocal tract shape An essential distinction between classical and legit styles Good resonance helps intonation Resonance and the concepts of “chest voice” and “head voice” Resonance and “placement” “Place the tone in the mask” “Forward placement” Exercises for enhancing resonance The “surprise” breath to feel a lifted soft palate Bah, gah, kah, pah, tah—plosive consonants followed by a vowel to raise the soft palate “Hang-ah” to raise the soft palate Varying the position of the soft palate—Exercise 1 Varying the position of the soft palate—Exercise 2 Tetrazzini’s exercise for lowering the jaw for classical singers “Aiming” sound to create pharyngeal space Experimenting with pharyngeal and mouth space (classical style) Using a pencil to help create better mouth space “Fah” and “vah” to help develop an inner smile “Surprise gasp” to create an inner smile Image exercises to improve mouth resonance Alternating between [i] and [u] for classical style For kids and everyone! Tuggedy tah Chapter 5: Vowels Tip of the tongue should rest at the base of the lower front teeth Resting the tongue-tip on the gum creates a dull sound Basic vowel production for classical/legit styles Vowel Spectrum for the classical style Perceptions of vowels as “bright” versus “dark” Vowels in contemporary styles Vowel consistency for intonation and ensemble blending Problematic vowels Beware of a puckered [u] Beware of making [i] too dull In classical/legit styles beware an excessive mouth opening for [a] Singing the neutral vowel “uh” Avoid the practice of “covering” throughout the vocal range Modification of vowels for higher pitches Vowel modification for males Vowel modification for females Vowel modification for females—easing the transition from chest voice to mixed voice around D4 At what pitch should vowel modification start for the classical style? Diphthongs, triphthongs, and glides Diphthongs are combinations of two vowels Triphthongs are combinations of three vowels Glides Avoiding problems with diphthongs and triphthongs inclassical/legit styles Altering the tonal color of vowels If back vowels sound too dark If the tone is too dark in general If the tone is too bright in general A summary philosophy of vowel formation Vowel exercises Experimenting with tongue position Tongue position vocalise Vowel Spectrum Experimenting with vowel color Beautiful [e] Resonant [u] for classical style Belting vowels For kids and everyone! Diphthongs Vowel modification Chapter 6: Consonants The articulators Quick, efficient consonant formation in classical singing Consonant length is often extended in contemporary styles Classical/legit singers should be judicious about exaggeration Consonants requiring special consideration Consonants requiring substantial jaw or lip closing—b, j, m, p, s, v, z Consonants requiring the tongue to seal the roof of the mouth—g, k,and ng ([ŋ]) Consonant clusters Jaw position when singing l, k, g, t, d, m, n, ng Timbre of [m] varies with the extent of jaw lowering Additional difficulties associated with [l] Think of [w] and “y” in terms of the vowels [u] and [i] Voiced versus unvoiced consonants When to use an unvoiced consonant even though a voiced consonant is indicated Additional considerations for the voiced consonants l, m, n, ng ([ŋ]) “r”—a particularly problematic voiced consonant for singers Final consonants Adding “uh” or “ah” to final consonants versus elision Sometimes consonants should precede the beat Consonant exercises Nasal consonants with a lowered jaw Singing consonants quickly For kids and everyone! Echo consonants For kids and everyone! Efficient consonants Avoiding scoops to the pitch consonants preceding a vowel Singing “y” (IPA [j]) correctly Emphasizing initial voiced and unvoiced consonants for effect Classical singing of the ending retroflex (American) “r” For kids and everyone! Snapping the timing of consonant release Chapter 7: Vibrato Vibrato is a natural phenomenon “Straight Tone” Desirable vibrato rate and extent Vibrato rate Vibrato extent Style implications for vibrato Solving vibrato problems Singers without vibrato Singers with unintentionally inconsistent vibrato Curing wobble Dealing with tremolo Vibrato is naturally less controllable at low and high ends of the range Summary Modifying vibrato Singing with minimal vibrato Altering vibrato in a healthy manner Vibrato in choral singing Perception of vibrato as generally undesirable Vibrato in the choral rehearsal Particular issues for sopranos Vibrato in early music Evidence from Renaissance and Baroque writers about vibrato Did the boys who sang high parts have “no vibrato”? Did small or resonant spaces of the Renaissance and Baroque periods mean that vibrato was not present in early music? Vox Humana and Voce Umana stops in early organs suggest use ofvibrato in early music Vibrato exercises Experiencing vibrato Encouraging vibrato Singing with minimal vibrato using good vocal technique Exercise to “smooth” vibrato Terminal Vibrato Messa di voce exercise with and without vibrato Combating wobble Reducing tremolo Chapter 8: Negotiation of the Vocal Registers What are vocal registers? Two main (modal) registers Lower register (chest voice) Upper register (head voice) Middle register (mixed voice) Research supporting the existence of chestmix and headmix Children’s registers Differences in chest and head voice use in classical and contemporary styles Females Males Modern singers most likely to struggle with the upper register Transitions between registers (passaggi) Male register transitions Female register transitions Negotiating the register transitions Breath pressure, firmness of vocal fold closure Additional factors to consider in register transitions Using nasality to assist male register transitions Jaw protrusion for classical male singers Special registers Whistle register Falsetto register Strohbass (pulse register) Register exercises Ghost/siren imitation Strengthening head voice "Ha-Ha-Ha" in head voice Octave slides from the lower register Extended arpeggios Mix belt calling exercise for register crossing For kids and everyone! Falsetto to lower register transition For kids and everyone! Slide whistle for experimenting with registers For kids and everyone! Echoing Chapter 9: Voice Classification and Improving Range Distribution and classification of voice types Misclassification of voices in choral groups Tessitura versus range Classification of voices in contemporary styles Musical theatre voice requirements and show types Singing higher pitches Additional factors affecting attainment of high pitches Using falsetto to access head voice in males Accessing lower pitches for female singers Handling leaps in pitch Exercises to increase range Image for creating space for higher pitches Slides Runs Using falsetto to access head voice in males Using SOVT exercises to improve range Extending the lower portion of the range For kids and everyone! Darts and Frisbees Chapter 10: Improving Intonation Causes of poor intonation Horizontal intonation (melodic line; relevant for both soloists and ensembles) Vertical intonation (harmony in ensembles) Dynamic level Vowel differences within and between ensemble sections Standing position of singers in ensembles Repertoire-specific intonation issues Text/lyrics Tessitura Key of the piece Extraneous factors affecting intonation Energy level Method of supplying a starting pitch Acoustics of the room Conducting pattern Concluding thoughts about intonation Exercises to improve intonation Slides to help with leaps in pitch Major and minor scales to learn intervals Pivot note exercise for horizontal intonation Vertical and horizontal intonation Chapter 11: Legato, Staccato, Accents, Melismas/Riffs, Dynamic Control, and Special Vocal Effects Legato involves vowel-to-vowel continuity Consonants and legato Language requirements that necessarily interrupt the legato line Images to help with achieving legato articulation Staccato Stop the tone by ceasing exhalation to sing staccato properly Accents Vocal ornaments and embellishments Technique for singing melismas in classical and contemporary styles Dynamic control Soft production at high pitches Special vocal effects Speech-like singing Non-sung effects Exercises for legato, staccato, accents, melismas, and dynamics Legato—singing text using only the vowels For kids and everyone! Legato image Staccato and tenuto Contrasting accents Getting a sense of melisma For kids and everyone! Melismas Complex melismas Messa di voce exercises to learn dynamic control Chapter 12: Improving Choral Blend Blend philosophies Choral sound Keys to a blended sound Uniform vowel production within sections Precise, quick consonants Precise rhythms Precise cutoffs/releases Attention to dynamics The role of timbre in blending The role of covering to produce blending The role of falsetto to produce blending Voice positioning Section placement Positioning singers within sections Distance between individual singers (singer spacing) Concluding thoughts on blend Chapter 13: Changing Voices Overview of voice change during childhood and puberty Difficulties with vocal change Voices are changing at younger ages Timing of voice change compared to the 1940s and 1970s Vocal development in adolescent males Vocal development in adolescent females Part assignment during vocal change Vocal technique issues in child and adolescent voices Registers in unchanged voices Teaching children and adolescents about vocal technique Inform and support adolescents undergoing vocal change Keep boys singing during the period of change Vocal models and adolescents Breathiness of adolescent females Avoid excessive vocal loading Orthodontics Vocal exercise issues specific to adolescents Transgender singers Voice changing methods for transgender males Voice changing methods for transgender females Aging voices What characterizes the aging voice? Singers can delay vocal aging Chapter 14: Reducing Tension Larynx and neck/pharynx tension Pharyngeal constriction in contemporary styles Neck/pharynx tension can be a carryover from speech production that lacks good breath support Jaw tension Temporomandibular joint (TMJ) disorder Tongue tension Holding the tongue back/excessive tongue flattening creates a throaty sound Tetrazzini’s test for tongue tension Tongue groove—is it a sign of tension? Lip tension Shoulders Legs Concluding thoughts on tension Exercises to reduce tension Neck relaxation Jaw freedom exercises Tongue relaxation Vowel exercises to bring the tongue forward Shoulder relaxation Leg muscle relaxation Chapter 15: Guarding Singers’ Vocal Health Hydration Effects of caffeinated beverages, alcohol, and antihistamines Vocal stamina and fatigue Astaxanthin may help prevent vocal fold damage Stress, anxiety, and vocal health Meal consumption prior to singing Timing of meals before singing Mucus Do dairy products contribute to mucus problems? Gastric reflux Singing and the common cold Treatment of colds and coughs Prevention of colds Medications with the potential to cause vocal fold bleeding Hormonal factors affecting the voice Female menstrual cycle Oral contraceptives Pregnancy and in-vitro fertilization Menopause Additional medication considerations If surgery is contemplated General surgery Vocal fold surgery Non-surgical physical treatments of vocal fold lesions Tonsillectomy Vocal health concerns of professional singers Vocal health of amateur singers Choral conductor’s role in maintaining vocal health The conductor’s appearance and gestures Sight-singing Standing, sitting, and taking breaks Never skip the warm-up and consider a cool-down! Plan and pace rehearsals carefully Conductors’ sensitivity to vocal health can make a real difference Chapter 16: A Productive Warm-Up Why are warm-ups important? Importance of choral warm-ups Importance of a well-constructed warm-up sequence Specific benefits of a thoughtful warm-up sequence Warm-up sequence Stretching/body awareness Breathing awareness Semi-occluded vocal tract exercises Connect breath with sound Vowels and resonance Range reinforcement/extension Linking and mixing of registers Special techniques Concluding thoughts about exercise selection Sample warm-up sequences Sample sequence one (approximately 12-15 minutes) Sample sequence two Vocal cool-down Cool-down sequence Compendium of suggested exercises for warm-up Physical stretches Breathing awareness Semi-Occluded vocal tract exercises Connect breath with sound Vowels and resonance Range reinforcement and extension Linking of registers Articulation, dynamic control, and repertoire-related exercises Appendix: IPA Symbols for Important Vowels and Consonants References Index About the Authors