Vocal technique: a guide for conductors, teachers, and singers
Gespeichert in:
Hauptverfasser: | , |
---|---|
Format: | Buch |
Sprache: | English |
Veröffentlicht: |
Long Grove, Ill.
Waveland
2012
|
Schlagworte: | |
Online-Zugang: | Inhaltsverzeichnis |
Beschreibung: | X, 295 S. Ill., Notenbeisp. 23 cm |
ISBN: | 9781577667827 1577667824 |
Internformat
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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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spelling | Davids, Julia Verfasser aut Vocal technique a guide for conductors, teachers, and singers Julia Davids ; Stephen LaTour Long Grove, Ill. Waveland 2012 X, 295 S. Ill., Notenbeisp. 23 cm txt rdacontent n rdamedia nc rdacarrier Singing / Instruction and study Voice Stimmbildung (DE-588)4057583-4 gnd rswk-swf Gesang (DE-588)4020470-4 gnd rswk-swf (DE-588)4048476-2 Ratgeber gnd-content Gesang (DE-588)4020470-4 s Stimmbildung (DE-588)4057583-4 s DE-604 LaTour, Stephen Verfasser aut Digitalisierung BSB Muenchen 3 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024996155&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
spellingShingle | Davids, Julia LaTour, Stephen Vocal technique a guide for conductors, teachers, and singers Singing / Instruction and study Voice Stimmbildung (DE-588)4057583-4 gnd Gesang (DE-588)4020470-4 gnd |
subject_GND | (DE-588)4057583-4 (DE-588)4020470-4 (DE-588)4048476-2 |
title | Vocal technique a guide for conductors, teachers, and singers |
title_auth | Vocal technique a guide for conductors, teachers, and singers |
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 |
title_fullStr | Vocal technique a guide for conductors, teachers, and singers Julia Davids ; Stephen LaTour |
title_full_unstemmed | Vocal technique a guide for conductors, teachers, and singers Julia Davids ; Stephen LaTour |
title_short | Vocal technique |
title_sort | vocal technique a guide for conductors teachers and singers |
title_sub | a guide for conductors, teachers, and singers |
topic | Singing / Instruction and study Voice Stimmbildung (DE-588)4057583-4 gnd Gesang (DE-588)4020470-4 gnd |
topic_facet | Singing / Instruction and study Voice Stimmbildung Gesang Ratgeber |
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