Vocalist.org archive


From:  "Lloyd W. Hanson" <lloyd.hanson@n...>
Date:  Wed Dec 4, 2002  3:17 am
Subject:  Re: [vocalist] Consonants and breath flow

Dear Vocalisters:

All of the discussion about using implements in the mouth or between
the teeth or on the lips as well as the discussion about a dark, flat
head voice or placement of the vocal tone in the head or roof of the
mouth or at the teeth or in the mask etc. and, of course, the ideas
of cuperto are matters of attempting to tune the vocal tract (the
space from the vocal folds to the facial lips) such that the
resonating space of the vocal tract is correctly adjusted to the
pitch of the phonated sound. The vocal tract can be adjusted into
almost any configuration of space and a few of these configurations
will be he correct ones to emphasize the qualities of tone we wish to
have for a given pitch. However most of the available configurations
that are possible will have either little effect on the phonated tone
or a negative effect.

The best method of finding the correct configuration of the vocal
tract is to experiment. Began a tone on a comfortable pitch with a
proper vocal onset, not a breathy onset nor an overly attacking
onset, but an onset that allows the voice to be heard as the breath
is used. Once tone is established, move the tongue, lips, jaw, roof
of mouth, et al in a continuously changing way and notice the effect
that these changing vocal tract postures have on the vocal tone.
Select a tonal quality that you like and that feels rich and has
projection and make a tape recording of it. Listen to it. If you
like it, attempt to emulate it again until you find that vocal tract
position that assists you to achieve this desired tone. If the vocal
tract position you select is extremely uncomfortable or contorted,
try to find the same quality with a more natural, easy vocal tract
posture. In most cases this is quite easy.

In this way you are more likely to find the vocal tract resonance
that is optimal for your particular vocal mechanism structure. It is
a mistake to apply the postures of the vocal tract that work for one
singer to another singer. Doing so creates the distortions that have
been so well listed in this discussion (pulling he upper lip over the
upper teeth, closing the lips (cuperto) on the tone, dropping the
jaw, singing in the yawn, raising the soft palette (sp?), etc.)

Keep in mind that the well phonated tone is rich in all of the
harmonics that are necessary to produce a beautiful tone. If one
wants a bright tone the vocal tract is adjusted to emphasize the
higher harmonics, if one want a dark tone the vocal tract is adjusted
to emphasiz the lower harmonics. If one wants a rich, natural
sounding, balanced tone the vocal tract is adjusted to emphasize all
of the harmonics present in the phonated tone with a possible
emphasis on that part of the harmonic spectrum that is desired for a
particular color or word declination.

It is possible to teach a person to sing in this way and, in so
doing, empowering that singer to be in complete control of his/her
voice and have it produce the tonal qualities that are best for the
voice and within the desires of the singer.
--
Lloyd W. Hanson







  Replies Name/Email Yahoo! ID Date  
21231 Re: Consonants and breath flowJohn Link johnlink010254 Wed  12/4/2002  
21259 Re: Consonants and breath flowSharon Szymanski sszymanski27514 Thu  12/5/2002  

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