Building Strong Voices 12 Different Ways 2s2s1e

STEPHEN F. AUSTIN ASSOCIATE PROFESSOR OF VOICE COLLEGE OF MUSIC UNIVERSITY OF NORTH TEXAS

Building Strong Voices: Twelve Different Ways!

Source for this discussion:

Stephen F. Austin, “Building Strong

Voices: Twelve Different Ways.” Choral Journal, Dec. 07 & Jan. 08

The Mechanism

Target for training:

Respiration  

Breathing and ‘Appoggio’

Articulation  

Resonance Vowels and consonants

AND Phonation 

How to make sound!

Premise #1

Teachers have been successfully building voices for several centuries and many have recorded their ideas for posterity. - Few of these are commonly available today

Premise #2

Voice science has helped us understand the way the voice works and therefore has given us a means of judging the effectiveness of traditional methods.

Premise #3

Most 18th c and 19th c methods focused on training the larynx as the primary component of the vocal instrument.

Premise #4

The concept of ‘pure vowel’ has always been a primary tenet of historical methods.

Premise #5

The concept of voce chiusa represents to singing what chiaroscuro means to all art forms: a balance of brightness AND darkness.

Building block exercises

Sostenuto Portamento Legato Other Interval Studies Onset  Studies

Building block exercises

Stable Laryngeal Posture Jaw position Velocity Other articulations: aspirato, marcatto Breath management Posture

Rationale: All are strongly emphasized in the historical

literature Each is a part of a progressive methodical approach to training the voice Among all musical instruments, Voice training has historically been woefully inconsistent in providing singers the benefit of a logical progressive method for training

1. Sostenuto Almost all historical treatises begin with the simplest

of all gestures: the sustained tone.

1. Sostenuto “It will prove to be of great help to a pupil who has a weak and limited voice, whether it be soprano or contralto. He must exercise with a solfeggio with sustained notes in his daily study. The result will be further assured if such solfeggio is kept within the limit which the voice permits at that time. It must be suggested to those who are confronted by these conditions, to increase the volume of their voices each day little by little, directing them thus, with the aid of art and continuous exercise, until they become vigorous and sonorous.” Mancini, Practical Reflections on the Art of Singing, 1774

1. Sostenuto

Isometric exercises for the intrinsic laryngeal

muscles Coordinates breath with onset Simplicity allows focus on   

Vowel Posture Respiration

Cinti-Damoreau (1830)

Frederick W. Root (1873)

1. Sostenuto “Many habituate themselves to a distorted position so thoroughly, that it seems natural, possibly easy, to them. If the face is not perfectly at repose, if the forehead is wrinkled, the nostrils dilated, or the mouth drawn into a position not used in speaking, it is an unerring indication that there is distortion in the throat. To rid yourself of wrong habits in this respect, or to prove that there are none, try this:

1. Sostenuto Fill the lungs; let the countenance assume an expression of repose; relax the muscles of the throat; open the mouth well; place the tongue as above directed; then exhale slowly and steadily, at first without producing a tone, but after two or three seconds allow the vocal cords to vibrate, watching carefully to see that there be no change of position. Repeat this process several times, at first making the tone very soft; then, if successful in retaining the right position of all the , exhale a little faster, making a louder tone. It is often of assistance to watch this process with a looking-glass.” Frederick Root, School of Singing, 1873

1. Sostenuto

“Where voice technique is founded on systematically acquired skills, sostenuto fills its role as a builder of the instrument. Sustaining power will increase vocal stamina and ensure vocal health.” Richard Miller, The Structure of Singing, 1989

2. Portamento:

Usually introduced after sustained tones Usually preceded the teaching of legato Was considered an essential tool in vocal culture Singer cannot sing legato without portamento

2. Portamento “Thereupon he should teach him the art of slurring

from one note to another and of dragging the voice smoothly in a pleasant manner on the vowels, while proceeding from high to low. Because these skills, so important to elegance in singing, cannot be taught merely by solmizing, they are often utterly neglected by the inexperienced teacher.” Pier sco Tosi: Opinioni di’ cantori antiche e moderni (1723)

He went on to say that without a good portamento,

“all other diligence falls short”.

2. Portamento “By this portamento of the voice is meant nothing

but a ing, tying the voice, from one note to the next with perfect proportion and union, as much in ascending as descending.” “… he ought to have him to the study of the

portamento of the voice, and instruct him well therein, this being one of the principle parts of vocal singing.” Giambattista Mancini: Practical Reflections on the Art of Singing (1774)

2. Portamento Garcia: “the portamento will help equalize the

s, the timbres, and the force of the voice.” Manuel Garcia, The Complete Treatise on the Art of Singing, 1847 Stockhausen: “In the larger intervals the question of

s has to be considered. There is all the more reason not to it over, as the portamento itself tends to blend the s.” “…it is only by the portamento that the singer gets his breathing and voice apparatus under full control.” Julius Stockhausen, A Method of Singing, 1872

2. Portamento

How is it to be performed? Garcia stated that air pressure was to remain ‘equal

and continuous’ and that there are ‘gradual changes of tension on the lips of the glottis.’

2. Portamento

2. Portamento

2. Portamento

3. Legato

Chi non lega, non canta! “To sing legato is to from one tone to another

clearly, suddenly, spontaneously, without interrupting the flow of sound, or allowing it to slur through any intermediate tones.” Garcia, Complete Treatise on the Art of Singing, 57

3. Legato Air is continuous s all the tones together Intonation must be perfect Value, force, and timbre must be perfectly even “one can scarcely attain this end with less than a year and

a half of diligent study.” Garcia, Pg 57 “The smooth vocalization is the most frequently used of all; therefore, it needs no sign to indicate it, the students should always be on guard against slurring, marking, or singing in staccato any ages no so indicated.” Garcia, Pg. 58

4. Other interval studies Traditional method books contained many varied

forms of interval studies:  

ear training Accuracy

Helps unify the voice

4. Other interval studies

4. Other interval studies

4. Other interval studies

5. Onset Initiation of the tone is a critical factor in voice

quality There are widely different opinions about how to begin the tone Much of the confusion is the result of misunderstanding and terminology Certain: breathiness in the voice is a common fault with young singers and aspirated onsets guarantee that they will stay that way

5. Onset “Hold the body straight, quiet, upright on the two legs, removed from any point of ; open the mouth, not in the form of the oval 0, but by letting the lower jaw fall away from the upper by its own weight, the corners of the mouth drawn back slightly. This movement, which holds the lips softly pressed against the teeth, opens the mouth in the correct proportion and finds it an agreeable form.” Manuel Garcia, Complete Treatise On the Art of Singing, Part 1, Translated and edited by Donald Paschke (New York: Da Capo Press, 1984), 41-42.

5. Onset “Hold the tongue relaxed and immobile (without lifting it either by its root or by its tip); finally, separate the base of the pillars and soften the entire throat. In this position, inhale slowly and for a long time. After you are thus prepared, and when the lungs are full of air, without stiffening either the phonator or any part of the body, but calmly and easily, attack the tones very distinctly with a light stroke of the glottis on a very clear [a] vowel. That [a] will be taken well at the bottom of the throat in order that no obstacle may be opposed to the emission of the sound. In these conditions the tone should come out with ring and with roundness.” Manuel Garcia, Complete Treatise On the Art of Singing, Part 1, Translated and edited by Donald Paschke (New York: Da Capo Press, 1984), 41-42.

5. Onset

“One must guard against confusing the stroke of the glottis with the stroke of the chest (coup de poitrine), which resembles a cough, or the effort of expelling something which is obstructing the throat.” Manuel Garcia, Complete Treatise On the Art of Singing, Part 1, Translated and edited by Donald Paschke (New York: Da Capo Press, 1984), 42.

5. Onset

In spite of Garcia’s caution:   



Many misinterpreted his meaning Misapplied the principle Perhaps some voices were injured by the misapplication of his intent This haunted him his whole career

Austin, Stephen F. The Attack on the Coup de la glotte. Journal of Singing. Vol. 61, No. 5. May/June 2005. Pg 521.

5. Onset

5. Onset

‘uh-oh’

6. Studies

Long history of confusion No agreement on a definition No agreement on how many there are No agreement on what to call them We do not understand the focus that was applied on

the s in our historical documents

6. Studies “By the word we understand a series of consecutive and homogenous tones going from low to high, produced by the development of the same mechanical principle, and whose nature differs essentially from another series of tones equally consecutive and homogenous produced by another mechanical principle.” Manuel Garcia, Complete Treatise On the Art of Singing, Part 1, Translated and edited by Donald Paschke (New York: Da Capo Press, 1984), xli.

6. Studies (cont.)

“All the tones belonging to the same are consequently of the same nature, whatever may be the modification of timbre or of force to which one subjects them.” Manuel Garcia, Complete Treatise On the Art of Singing, Part 1, edited by Donald Paschke (New York: Da Capo Press, 1984), xli.

Translated and

6. Studies

Minoru Hirano ,“Regulation of , Pitch and Intensity of Voice”. Folia Phoniatrica, Vol. 22, Pp. 1-20, 1970.

Ingo Titze, Principles of Voice Production. Cliffs, New Jersey, Pg. 262, 1994.

Prentice Hall, Englewood

Minoru Hirano, “Vocal Mechanisms in Singing: Laryngological and Phoniatric Aspects”. Journal of Voice, Vol. 2, No. 1, Pp. 51-69. 1988.

Minoru Hirano, “Vocal Mechanisms in Singing: Laryngological and Phoniatric Aspects”. Journal of Voice, Vol. 2, No. 1, Pp. 51-69. 1988.

6. Studies

“As the bottom of the vocal fold bulges out, the glottis becomes more rectangular than wedgeshaped (convergent). During vibration, then, glottal closure can be obtained over a greater portion of the vocal fold, and thereby over a greater portion of the cycle…The result is a voice of richer timbre, which we call chest or modal voice.” Ingo Titze, Principles of Voice Production. Jersey, Pg. 261, 1994.

Prentice Hall, Englewood Cliffs, New

6. Studies “This chest voice is not equally forceful and strong in

everyone; but to the extent that one has a more robust or more feeble organ of the chest, he will have a more or less robust voice.” “A sonorous body, or rather robustness of voice is ordinarily a gift from nature, but can also be acquired by study and art.”Giambattista Mancini, Practical Reflections on Figured Singing. Editions of 1774 & 1776 compared, translated and edited by Edward V. Foreman, Pro Music Press, Minneapolis. Pg. 20, 1967.

6. Studies “Chest mixture will strengthen the soprano’s lower -

middle range. Almost every female can make some chest timbre sounds, no matter how insecure, in the lowest part of her range. These notes should be sung in short, intervallic patterns, transposing by half steps upward, as more sound emerges.” Richard Miller, Structure of Singing. Schirmer Books, New York, New York. Pg. 136-137, 1986. Also the best way to build strength in the high voice

Ingo Titze Principles of Voice Production. Cliffs, New Jersey, Pg. 262, 1994.

Prentice Hall, Englewood

rules:

Low and loud = chest voice High and soft = head voice Breathy and hooty = falsetto We use these natural responses to train the s

to respond appropriately

‘Sostenuto tones in the chest’ – with or without crescendo

William Vennard, Singing: The Mechanism and the Technique. Carl Fischer, New York. Pg 214. 1967.

William Vennard, Singing: The Mechanism and the Technique. Carl Fischer, New York. Pg 214. 1967.

‘Welcoming in the chest’

“Imposing the chest’

‘Imposing the chest – II’

‘Deference to the head’

Breaks!

Additional exercises: Flute or whistle voice stretches for females (humming

works nicely) Falsetto stretches for males Falsetto ‘break outs’ for men – like Garcia’s middle

voice exercises for women ‘Dimmer switch’ exercises from falsetto to chest in

men

7. Stable Larynx The most common vocal fault The ‘comfortably low larynx’ is an historically

important tenet of bel canto Laryngeal posture varies widely through the range naturally If natural tendencies are allowed to dominate it can lead to severe limitations in freedom, range, and timbre Often leads to mis-classification of voices – especially men

7. Stable larynx Traditionally approached through the study of ‘voce

chiusa’ timbre (vs. voce aperta) Described in the concept of ‘the open throat’ “Out of the darkness into the bright” Use of [o] and [u] vowels are best Start in low range and work up Single notes, small scales, building as they can achieve the goal

7. Stable larynx Secret to the male ‘head voice’ ‘Bella signora’: 1-3-5-8-5-3-1 My approach: whatever it takes! Places whole mechanism in it’s optimal posture for

singing

8. Jaw opening

The right thing depends upon the vocal style How much is enough? How much is too much? Commercial styles: 



low and middle range is typically same as speech-modest opening High range (belt) jaw has to be lowered to maintain belt quality. There is no choice about this! All belters do it.

8. Jaw opening Classical style: 





Like CM styles, jaw opening in low and middle voice MAY be modest, but the ‘mixed quality’ in female middle voice and high male voice is best accomplished without opening In female voice however the jaw has to lower at about F5 – formant tuning The ‘three fingers rule’ does not apply universally! It can distort the tone and can put undue stress on the mechanism

10. Other Articulations

Legacy sources indicate scores of exercises for

training various articulations other than sostenuto, portamento and legato

10. Aspirato

Julius Stockhausen reminded us that the legato is

the most important and most beautiful style of vocalisation, but also said: “It is a fact, that by this aspirated vocalisation, great flexibility of the larynx, and distinctness of technique can be most surely and quickly acquired.” A Method of Singing, 46

10. Aspirato

Garcia described it this way:

“The means of performing these ages consists of a slight aspiration placed before the repetition of each tone. This aspiration emanates from the glottis which allows a small particle of unvoiced air to escape between the repeated tones.”

10. Aspirato Only when a note is repeated once or note

raddopiate: Not to be used for scale-wise ages as was often encountered, then and now:

10. Aspirato

10. Aspirato

10. Aspirato

10. Marcato Garcia stated:

“All these means or manners of uttering the ages, namely: portamentos; marcatos; ties; staccatos; while applying to them all the vowels and their timbres: pauses, forte, pianissimo, fortissimo, piano, inflections, mezzoforte, and their various combinations of these means, form the inexhaustible depth in which the singer finds the brilliant resources which give life to his performance.” Complete Treatise, 111

10. Marcato “To mark tones is to make them distinct by thrusting them, by ing each of them separately without detaching them or stopping them. One will succeed in it by supposing that one has repeated the vowel as many times as there are notes in the age, but without discontinuing the sound for breathing or anything else . . . At the same time, one will make a slight pressure with the stomach for each vowel; the pharynx will experience a slight dilation for each tone.” Complete Treatise, 58-59

10. Marcato Garcia suggested that marcato would help with the

‘emission of the voice’ Marcato would help lower voices define there vocalization

10. Marcato

Stockhausen agreed that it was best suited for male

voices Gave additional indications for marcato: notes marked with ‘> > > >’ also with a tie

10. Marcato

10. Marcato Modern editions often leave off important markings

indicating intended articulations 1962 G Schirmer score and Robert Larson’s edition of Una voce poca fa leave off the staccato markings:

10. Staccato

Most common after legato and portamento Common to the literature for all voice Noted by a dot or a dash above the note Most 19th C treatises dealt with this articulation

directly

10. Staccato Garcia: ‘Staccato tones are formed by attacking the

tones individually by a stroke of the glottis which detaches them from each other.’ Focused on the opening gesture of the glottis after a

complete closure

10. Staccato Stockhausen:

‘In this style of vocalisation, the student should concentrate his attention chiefly on the activity of the larynx and the closing muscles.’ “A Method of Singing,” 43

Reid:

‘It is the rapid reiteration of a precise opening and closing movement of the vocal folds.’ “Dictionary of Vocal Terminology,” 352

10. Staccato Miller:

‘the goal is a clean approximation, and involves the principle of quick alternation between vocal fold adduction and abduction.’ “Structure of Singing,” 12 Quotes Brodnitz: ‘In staccato singing a form of glottal stroke is used to produce the sharp interruptions of sound that characterize it. But in good staccato the glottal stroke which starts each note is well controlled and done with a minimum of pressure…’

10. Staccato

Uniformly described as a laryngeal event, not

respiratory! Behnke suggested that a slight inspiration should

precede every tone and that this additional element is as beneficial to the respiratory system as the opening and closing action is to the larynx. “Voice Training Exercises for Soprano,” Introduction

10. Staccato Stockhausen:

‘The action of the diaphragm, which is indispensable for the quick inspirations required for staccato, takes place almost automatically, as nobody can produce short detached notes without moving the muscles of the diaphragm; moreover, we practice them from our earliest childhood, in laughing and sobbing.’ “A Method of Singing,” 119

10. Staccato The opening of the glottis from complete closure

produces a salient acoustic signal Has always been used to develop and maintain

flexibility and clarity of tone Stockhausen: 

‘Female students who have never practiced the staccato have no idea of the capabilities of their voice.’ “A Method of Singing,” 43

10. Staccato

I find much confusion over how to produce this! Often produced from the abdominal wall Misinterpretation of an observed event!

10. Staccato

11. Breath Management Like s, a vast amount of confusion over this

issue ‘’ is as complex as you want to make it, or as

simple as it needs to be Garcia’s two volume work, often quoted here, gave

about 2 pages to If you follow the anatomy, you can’t go wrong!

12. Posture Body alignment matters! Position of the head matters! ‘folder syndrome’ is deadly to a free voice Head up, pointed straight ahead, not to the side

where they hold their folder