Verfügbarkeit: Vocal technique

Vocal technique: a guide for conductors, teachers, and singers

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Bibliographische Detailangaben
Hauptverfasser:	Davids, Julia (VerfasserIn), LaTour, Stephen (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Long Grove, Ill. Waveland 2012
Schlagworte:	Singing / Instruction and study Voice Stimmbildung Gesang Ratgeber
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	X, 295 S. Ill., Notenbeisp. 23 cm
ISBN:	9781577667827 1577667824

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Datensatz im Suchindex

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adam_text	Table of Contents Acknowledgements ..................................................................ix Introduction: Our Philosophy of Vocal Technique .................................1 Good vocal technique is essential for great sound ..............................................1 Some benefits of good vocal technique ................................................................2 Good vocal technique preserves singers voices ..................................................4 Intentional use of warm-ups is essential to vocal development .........................4 A resource to address vocal technique systematically ........................................4 Bridging the rift between voice teachers and choral conductors .....................6 Both historic and modern resources provide guidance .......................................7 A note about symbols used in this book ..................................................................8 A word about terminology .........................................................................................9 Section I: Foundations of Vocal Technique ........................................11 Chapter 1: Posture ...................................................................13 Essentials of proper posture .....................................................................................13 Important aspects of posture ..................................................................................15 Common posture problems .....................................................................................17 Avoid excessive body movement ..........................................................................17 Sitting posture and seat types .................................................................................18 Exercises for posture ..................................................................................................20 Chapter 2: Breath Control ...........................................................23 Phases of the breathing cycle ................................................................................23 Inhalation ....................................................................................................................24 Very brief suspension .................................................................................................29 Exhalation ....................................................................................................................29 Additional points about exhalation .......................................................................33 Recovery .....................................................................................................................35 Breathing exercises ....................................................................................................35 Chapters: Initiation, Creation, and Release of Sound ............................41 How sound is initiated and created .......................................................................41 Muscles affecting pitch ............................................................................................45 Good hydration is critical for proper vocal fold vibration ..................................50 Sound quality is affected by firmness of vocal fold closure ...............................50 Method of initiating sound affects glottal tension ...............................................51 Coordinated onset should be used for most singing ..........................................52 Glottal onset (hard attack) should be used selectively .....................................53 Breathy onset is generally undesirable ..................................................................55 v vi Vocal Technique: A Guide for Conductors, Teachers, and Singers Onset and younger singers ......................................................................................55 Ending sound — inhaling is a simple approach to release ..................................56 Belting ..........................................................................................................................56 Exercises for development of coordinated onset and release ........................59 Chapter 4: Resonance ..............................................................63 Superior resonance improves tonal quality and vocal efficiency ...................63 Resonance involves selective amplification ........................................................64 Structure of the vocal tract .....................................................................................65 Resonance and formants ........................................................................................67 Desirability of balanced resonance ......................................................................72 Adjusting the larynx ...................................................................................................73 Adjusting the oral pharynx .......................................................................................75 An open pharynx and low larynx help create the singer s formant ................78 Adjusting the mouth .................................................................................................79 Resonance and placement ................................................................................82 Exercises for enhancing resonance .......................................................................83 Chapter 5: Vowels ...................................................................87 Tip of the tongue should rest at the base of the lower front teeth ..................87 Accurate vowel production ....................................................................................88 Vowel consistency for intonation and choral blending .....................................94 Problematic vowels ...................................................................................................94 Perceptions of vowels as bright versus dark ..................................................98 Vowels in musical theatre and popular music .....................................................98 Modification of vowels for higher pitches .............................................................99 Diphthongs, triphthongs, and glides ....................................................................105 Altering the tonal color of vowels ........................................................................107 A summary philosophy of vowel formation ........................................................109 Vowel exercises .......................................................................................................110 Chapter 6: Consonants ............................................................113 The articulators .........................................................................................................113 Sing consonants quickly and efficiently ..............................................................113 Be mindful of consonants; exaggeration is generally undesirable ................1 14 Sometimes consonants should precede the beat ............................................115 Avoid adding uh or ah to final consonants ...................................................116 Problematic consonants ........................................................................................117 Think of [w] and y in terms of the vowels [u] and [i] ......................................118 Keep the back of the jaw open when singing I, k, g, t, d, n, ng, m ...............118 Voiced versus unvoiced consonants ...................................................................119 Consonant exercises ...............................................................................................122 Section II: Enhancements of Vocal Technique ..................................125 Chapter 7: Vibrato .................................................................127 Vibrato is a natural phenomenon ........................................................................127 Vibrato is appropriate for most music .................................................................128 Desirable vibrato rate and range ........................................................................128 Contents vii Vibrato problems .....................................................................................................129 The vibrato controversy ..........................................................................................133 Vibrato in early music ..............................................................................................135 Singing with less vibrato in the choral setting .....................................................140 Concluding thoughts about vibrato ....................................................................141 Vibrato Exercises ......................................................................................................142 Chapter 8: Negotiation of the Vocal Registers .................................. 145 What are vocal registers? ......................................................................................145 Two main registers ...................................................................................................146 Is there a middle register (mixed voice)? ............................................................148 Modern singers have most difficulty with the upper register ...........................149 Transitions between registers (passaggi) .............................................................149 Vocal registers and resonance .............................................................................153 Negotiating the registers ........................................................................................153 Special registers in women and men ...................................................................155 Exercises for smoothing out the registers .............................................................156 Chapter 9: Improving Range ..................................................... 15? Distribution of voice types ......................................................................................159 Tessitura versus range ..............................................................................................161 Classification and misclassification of voices in choral groups .......................162 Accessing higher pitches .......................................................................................162 Accessing lower pitches for female singers ........................................................165 Handling leaps in pitch ...........................................................................................166 Exercises to increase range ...................................................................................167 Chapter 10: Improving Intonation ................................................ 171 Causes of poor intonation .....................................................................................171 Repertoire-specific intonation issues ....................................................................173 Extraneous factors affecting intonation ..............................................................176 Concluding thoughts about intonation ...............................................................177 Exercises to improve intonation ............................................................................177 Chapter 11: Legato, Staccato, Accents, Melismas, and Dynamic Control --- 181 Legato involves vowel-to-vowel continuity ........................................................181 Staccato ....................................................................................................................183 Accents .....................................................................................................................184 Melismas ....................................................................................................................184 Dynamic control ......................................................................................................186 Exercises for legato, staccato, accents, melismas, and dynamics ................187 Chapter 12: Improving Choral Blend .............................................191 Blend philosophies ...................................................................................................191 Choral sound ............................................................................................................192 Keys to a blended sound .......................................................................................192 The role of covering to produce blending ..........................................................195 The role of falsetto to produce blending ............................................................196 Voice positioning .....................................................................................................196 Concluding thoughts on blend .............................................................................199 viii Vocal Technique: A Guide for Conductors, Teachers, and Singers Chapter 13: Changing Voices ....................................................201 Overview of voice change during childhood and puberty ...........................201 Earlier voice change in recent years ...................................................................202 Vocal development in adolescent boys ............................................................204 Vocal development in adolescent girls ..............................................................207 Vocal technique issues in child and adolescent voices ..................................209 Vocal exercise issues specific to adolescents ...................................................213 Aging voices .............................................................................................................214 Chapter 14: Reducing Tension ....................................................219 Larynx and neck/pharynx tension produce a strident sound .........................219 Jaw tension ...............................................................................................................222 Tongue tension ........................................................................................................222 Tongue groove — is it a sign of tension? ...............................................................224 Lip tension .................................................................................................................225 Shoulders ...................................................................................................................225 Legs ............................................................................................................................226 Concluding thoughts on tension ..........................................................................227 Exercises to reduce tension ...................................................................................227 Chapter 15: Guarding Singers Vocal Health ....................................231 Hydration..................................................................................................................231 Safe amount of daily singing to prevent vocal fatigue ...................................233 Meal consumption prior to singing .......................................................................234 Gastric reflux .............................................................................................................234 Singing and the common cold .............................................................................235 Medications with the potential to cause vocal fold hemorrhage .................238 Hormonal factors affecting the voice .................................................................239 If surgery is contemplated .....................................................................................240 Choral conductor s role in maintaining vocal health ......................................241 Chapter 16: A Productive Warm-Up ..............................................247 Why are warm-ups important? .............................................................................247 Specific benefits of a thoughtful warm-up sequence ......................................247 Warm-up sequence ................................................................................................248 Sample warm-up sequences ................................................................................251 Compendium of suggested exercises for warm-up .........................................252 Appendix A: IPA Symbols for Important Vowels and Consonants .............261 Appendix B: Graphs of Formant Frequencies ...................................265 Fi and F2 frequencies for [i], [a], and [u] .............................................................267 Further illustration of formants ...............................................................................267 References .........................................................................269 Index ...............................................................................285
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title	Vocal technique a guide for conductors, teachers, and singers
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title_exact_search	Vocal technique a guide for conductors, teachers, and singers
title_full	Vocal technique a guide for conductors, teachers, and singers Julia Davids ; Stephen LaTour
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title_full_unstemmed	Vocal technique a guide for conductors, teachers, and singers Julia Davids ; Stephen LaTour
title_short	Vocal technique
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title_sub	a guide for conductors, teachers, and singers
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