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From:  "Lloyd W. Hanson" <lloyd.hanson@n...>
"Lloyd W. Hanson" <lloyd.hanson@n...>
Date:  Sun Apr 8, 2001  10:05 pm
Subject:  Re: [vocalist] THE AH VOWEL


Dear Mike and Vocalists:

I agree with you that consonants tend to "contaminate" vowels and
vowels can change the way in which consonants are pronounced. That
is an important point when working with beginning singers because
they must at an early stage learn to isolate the vowel that should be
sung. This is a real problem for English speaking singers because,
as you point out, English has few if any single vowels and many
diphthongs or triphongs. As you know, the rule of thumb in singing
diphthongs or triphongs is to always sustain the initial vowel and
treat the exit vowel sounds as one would treat an ending consonant
(or combine the exit vowel with the ending consonant if the word has
one).

Pops singing of any kind does not necessarily adhere to this rule and
instead allows a migration from the initial vowel sound to the exit
vowel sound within a sustained note. But classical singing in
English normally expects the initial vowel to be sustained in order
to obtain a pure tone that is not in a state of change. English
speaking singers often have difficult with the concept of vowel
glides which are found in Italian because they tend to treat them
like diphthongs (initial vowel has the length) and create vowel
lengths that is not inherent to Italian.

To Isabelle , I agree that it is quite easy for any form of the AH
vowel to be experienced either backward or forward as regards the
idea of placement. For example, "Shun" with a smile feels quite
different than "Shun" with a frown. It is, however, less a matter of
the feel of the vowel forward or backward that gives the voice its
particular maximum efficient resonance. It is the position of the
tongue mostly, plus the raising of the soft palate (how that should
be done is another matter) the opening of the pharyngeal space etc.
all of which is required to achieve any given vowel sound. That is
true of speech as well as singing. Within that formation the sense
of front and back can be added to some extent for a slight change in
desired color.

Because each vowel sound creates two emphasized frequencies above the
fundamental being sung which are the vowels unique qualities, it
these two emphasized frequencies or vowel formants which must be
given consideration. If one is singing a fundamental whose partials
do not match the required formants for a given vowel, that vowel is
not a good choice for that particular pitch and must be modified in
some way. The most accurate manner of altering a vowel is to simply
change it to a neighboring vowel which has formants that will match
the partials of the sung pitch. It is for this reason that an
understanding of the differences in vowels is so important and that
the vocal tract be flexible and immediately adjustable to
accommodate the necessary changes of vowels. These changes are more
or less automatic once learned and natural singers do these changes
without being aware of doing so.

A good discussion.




--
Lloyd W. Hanson, DMA
Professor of Voice, Pedagogy
School of Performing Arts
Northern Arizona University
Flagstaff, AZ 86011


  Replies Name/Email Yahoo! ID Date Size
11003 Re: THE AH VOWEL Isabelle Bracamonte   Tue  4/10/2001   5 KB

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