| | From: "Lloyd W. Hanson" <lloyd.hanson@n...>
Date: Thu Jun 20, 2002 4:48 am
Subject: Re: [vocalist] Vowel Mirror
| Mike and Vocalisters:
Although there is an optimal vocal tract position or posture for each
vowel for a given pitch it should not be implied that such an optimal
position is always desired. In classical singing it is more desired
than in other forms of singing because the vocal line is of a more
primary importance than in other forms of singing. By vocal line I
mean the un-broken, even vocal quality that occurs within a phrase
regardless of the vowel quality or pitch being sung. This kind of
singing demands an optimal vocal tract position for each vowel/pitch
as it is possible to achieve. For this reason diphthongs are not
emphasized but, rather, the primary vowel in a diphthong is
emphasized through lengthening or sustaining its quality and the
secondary vowel of the diphthong is given as short a duration as is
possible while yet maintaining intelligibility. This is done to
minimize the "temporarily out of an optimum resonance" condition that
could occur while singing a diphthong.
In a complete contrast to the stylistic demands of classical singing,
other styles of singing may choose to emphasize the transition found
in the diphthong and actually relish the lack of optimum resonance
that is the result of this approach. Often this difference in
approach to the selection of optimum resonance is the primary
noticeable difference obtained when a classically trained singer does
pop or show tunes. The classical singer is not comfortable making
tones that do not reflect their optimum resonance and often will even
search for maximum resonance within the extended transition between
vowels of the diphthong which is part of the pops or show style. I
think particularly of Kiri Te Kanawa in her more popular CDs.
I know of no research which indicates that a change in pressure
(sub-glottal) during phonation has any substantial effect on the
posture or formed position of the vocal tract. It has not been my
experience that students perceive a change in vocal tract posture
during changes in sub-glottal pressure. I would go a bit further and
mention that when phonation is properly balanced the singer does not
experience substantial changes in sub-glottal pressure at all except
in the upper extremes of the vocal range.
Your concern about static positions is a valid one. There is nothing
naturally human about maintaining a static muscular or skeletal
position. Instead the body is a dynamic energy device that is
constantly changing its function and the positions required for such
functional changes. What the vowel mirror helps the singer achieve,
by producing a more clearly defined "target", is an improved
potential to hit that target with less trial and error fumbling and
consequent failure. Once the singer "knows" the feeling of finding
that target of maximum resonance he/she is able to not only replicate
it more quickly but use it as an artistic device. There is a
learning curve to achieve this skill but is a gentle curve that is
accomplished more quickly than relying on outside ears to determine
when the best resonance is achieved.
--
Lloyd W. Hanson
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