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

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