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From:  "Lloyd W. Hanson" <lloyd.hanson@n...>
"Lloyd W. Hanson" <lloyd.hanson@n...>
Date:  Mon Mar 26, 2001  6:29 am
Subject:  Re: [vocalist] Vowel questions on Un'aura amorosa


Dear TL and Vocalisters:

What you are experiencing in your description below is the effect of
a more closed vowel bringing you into your head voice at a slightly
lower pitch level. The /u/ vowel on the E4 requires that you be in
your head voice, the /o/ vowel on the same pitch does not require the
head voice but it is better if you use the head voice on this pitch
in this aria and you can do so by practicing it this way.

What you describe as "lift" is simply another way of describing the
use of the head voice which has a sense of heady ring or lift .

Lloyd

>Being that this is my first Mozart aria (and actually one of my first aria's
>period) I've started noticing things, and I was interested in hearing others
>opinions.
>It seems that different vowels lift (moving upward then more forward) at
>different parts of the passagio. The farther back the vowel the
>sooner the lift
>seems to occur. One of the first problems I had was with the u vowel on the E4
>(aura mm2), but once I let it lift it was fine. Yet the o in ristoro going to
>the E4 (mm4) wasn't nearly as noticable. When the o got to the F#4 on the word
>cor (mm8) it had to lift and move forward slightly. The only tricky
>part is that
>in maintaining the vowel consistency going from the F#4 of Cor (mm8)
>down to the
>D4 (part of porgerra) without letting the next vowel slide back.
>Are these perceptions correct? What do others do in handling the different
>vowels through this area?
--
Lloyd W. Hanson
Professor of Voice, Vocal Pedagogy
Northern Arizona University
Flagstaff, AZ 86001

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