In a message dated 9/7/2002 10:14:59 PM Eastern Daylight Time, lloyd.hanson@n... writes:
> I agree completely. I wonder how choral directors ever got > themselves into this concept of overemphasizing consonants at the > expense of maintaining vowel tone line which gives any singing its > clarity and its listeners the possibility of connecting the > consonants within the continuous framework of vowels which is the > hallmark of all good singing
Another in agreement here! Many never figure out that it is WHEN we negotiate consonants that is so important. My own experience is with two fine conductors (Robert Shaw and B. R. Henson) who knew this challenge and dealt with it carefully. The result was a great legato, vowels on time, consonants before the beat, and an 'instrument' which was musical and expressive. When conductors do teach this way, the consonants become an integral part of the musical fabric, allowing the vowels to carry the line.
As a soloist, I deal with consonants in the very same way, and found no quarrel with the teaching about use of consonants and vowels I had received from those two conductors (choral) and Richard Miller (studio). True legato is achieved by good use of all vocal sounds. By-products of that are better vocal clarity, more accurate intonation, more efficient breath management, and text which is understood by the listener.
Great discussion.
Sincerely, Lynda Lacy (lynda313@a...) (about to relocate from Hilton Head, SC to Raleigh, NC)
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