Vocalist.org archive


From:  "Lloyd W. Hanson" <lloyd.hanson@n...>
Date:  Wed Jul 26, 2000  3:52 pm
Subject:  Re: [vocalist-temporary] OTL's, fach, and stroboscopy


Dear Jana and Vocalisters:

My first concern for your student is the idea that she must, somehow,
change from choral alto to choral soprano. As a seasoned choral
director I am well aware that all designations of voice type for
choral work are artificial because they are based more on choral
needs or the needs of filling the ranks of a section than on the
individual qualities, tessituras and ranges of the voice. It is not
uncommon for a quality mezzo to be asked to sing 2nd soprano because
of the needs of the choir or a very high soprano to sing low alto
for the same reason and because she has a "nice reedy chest voice."
This comment is not meant to bash choral singing nor choral directors
but only to emphasize that voice type designation for choral singing
should not be a part of private study considerations unless the
choral singing is interfering with the private study which appears to
be the case here.

While I very much admire the Voice Care Network, I find most of their
emphasis has become organized around choral singing. As such, they
have re-trained many choral directors to become more sensitive to
individual voice needs and have provided an education tool for the
individual choral singer. But they have not, to my knowledge, become
expert in the area of private study to the extent that they have any
kind of track record of success with soloists beyond the choral
domain. I cannot speak to their requirement, as reported by you, for
a stroboscope exam in order to have a correct diagnosis but it seems
logical to me.

The problem with any voice that fatigues quickly is often diverse and
most difficult to diagnose. Speaking habits such as pitch of voice,
intensity, glottal onsets, duration of conversations, work
conditions,etc. all can, and often do, play a part and not all of
these are within the knowledge of the studio voice teacher. I would
strongly suggest that your student visit a voice therapy facility to
gain some of the information about her speech/talking habits. Many
times the singing problems are merely an extension of the problems
created by poor speech habits.

Regardless of the reputation of the OTL, I would never trust a
diagnosis of voice type from a simple mirror exam. There is nothing
that prevents anyone with a speciality in medicine from overstepping
his knowledge and making a diagnosis that is not well based on
correct information. Although we are all careful night drivers there
is nothing that stops us from "overdriving" our headlights.
Physicians and voice teachers do it all the time. I speak from
experience, sorry to say.

I would also suggest that her designation of voice type be ignored
for the time being and your instruction be centered around singing
any range and literature that is comfortable for her and the present
time. (I am sure you are already doing this.) I would also suggest
to the choral director that she be placed in a section that will
allow her to sing in the most comfortable range of her voice, perhaps
2nd soprano or 1st alto.

It has been my experience that singers who have been trained to use
mostly the lower portion of their voice will attempt to bring that
quality into the upper portion of their voice because they know
nothing else. I often suggest to them that their high voice has been
little used and is not well developed and will, therefore, sound more
immature but that this is a passing phase. In these cases, I
encourage a lightness of tone in the high voice with an easy
production but without a breathy quality. I have found that an
emphasis on well balanced onsets throughout the upper middle voice
will eventually carry over into good phonation habits in the high
voice.

But the best success I have had with discovering the high voice in
female students who have used mostly their low voice (and this seems
to be the universal pattern today) is a diatonic arpeggio on double
octave (1, 3, 5, 8, 10, 12, 16, and back down) on an [a] vowel but
with this stipulation. Have the student find an easily produced,
resonant, chest voice for the lowest note of the arpeggio and point
out that the size and shape of the resonating space they have created
for this tone, on this note (the first note of the arpeggio) is also
the resonating space that will work for all of the notes in the
arpeggio with no need make changes in that resonating space except to
open the mouth slightly for the highest tone (the student will do
this automatically; it is just good to let them know that their
instincts are correct).

I also point out that they will be very aware of changes occurring in
the laryngeal area and they should allow these changes to take place
but should not attempt to make any changes in the resonating space
they have created for the well resonated, well produced chest voice
on the first note of the arpeggio. They will also very likely find
that each of their register change points will be very obvious and,
sometimes, a bit embarrassing. This exercise will not help in hiding
these register change points because it encourages a more or less
consistent resonating space and, therefore, does not allow
adjustments for smoothing over the register change points.

This exercise will help the student discover that most of the
alterations that they desire to make as they ascend into their high
voice are counterproductive and that their vocal folds will do
whatever function is requested of them by the mind if the singer does
not attempt to assist in any way. The voice will automatically
change from register to register on the ascent and descent (the
descent is sometime more difficult) because as the vocal folds adjust
to each pitch in the arpeggio, there is already in place a correct
resonating space for that tone. (Keep in mind that all notes of the
arpeggio are overtones of the first note). The vocal folds will more
easily be able to make frequency changes without needing to adjust to
incorrect resonating space along the path upward.

Play with this a bit with your student. I would be most interested
to know if it is of any help.

Good luck. Thanks for the posting.


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

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