1. Session IV Voice Building: Articulation
Stephen F. Austin, M.M., Ph.D.
Associate Professor of Voice
University of North Texas
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2. Calisthenics for the Voice
The ‘historical school’ of voice training approached the vocal instrument in the same way as any other instrument: through graded, progressive study of articulation and interval patterns.
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1. Sustained tones
Most 19th C. methods begin here
Always begin with the low voice
Procede by whole or half steps
At least an octave
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4. Franz Abt: ‘Practical Singing Tutor’
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5. The Vocal Pedagogy Workshop - 2007
Benefits:
1) Strengthens intrinsic musculature - isometric exercises for the TA and the CT.
2) Especially helpful in building the low mechanism (chest voice).
3) Simplicity of the gesture provides opportunity to address breath and support, pure vowel, posture, facial repose, etc.
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2. Portamento
The portamento as an introduction to legato
Tosi: ‘without a good portamento “all other diligence falls short”
Mancini: ‘should be taught immediately after the full voice has been established’ (Manuel Garcia; Complete Treatise on the Art of Singing, 1847.)
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7. Manuel Garcia: ‘The Complete Treatise on the Art of Singing’ (1841)
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8. Manuel Garcia: ‘The Complete Treatise on the Art of Singing’ (1841)
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3. Benefits:
1) Trains a smooth coordination between the TA and the CT
2) Trains a constant breath flow - support
3) Provides the opportunity to focus on vowel quality, posture, facial repose, etc.
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4. Legato
“Portamento provides the technical foundation for connecting the tones without ‘sliding’ - legato. These exercises take many forms” (Luigi Lablache; Exercises for Soprano or Tenor, 1852.)
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11. Luigi Lablache: Exercises for Soprano or Tenor (1852)
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12. The Vocal Pedagogy Workshop - 2007
Benefits:
1) Promotes coordination between intrinsic muscles of the larynx and those of the respiratory system.
2) Builds endurance!
3) Use of a metronome is extremely helpful and develops a strict sense of time and organized movement within the larynx
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13. Other Interval Studies
these are numerous and take many forms:
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14. Cinti-Damoreau: ‘Method of Singing’ (1849)
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15. Cinti-Damoreau: ‘Method of Singing’ (1849)
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Benefits:
1) Develops register unification, equalization of power (especially after the voce chiusa has been established).
2) De-sensitizes the singer to ‘high’ and ‘low’
3) Further development of support, ‘appoggio’ (greatest danger is an intentional increase of support for the high notes!)
4) Must include vowel work, facial repose, body tensions, etc.
5. Mirror work is crucial! Only way to get a handle on extraneous tensions in head/neck, tongue, face, etc.
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17. The great “Rossini Scale”: Cinti-Damoreau
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5. Onset
Controversial
Many 19th C sources promote Garcia’s definition of the Coupe de la Glotte
Vocal folds are in full contact prior to phonation
Detractors claim practice ruins voices
Proponents claim that the correct balance of closing effort and breath pressure provides a clear, ringing quality that cannot be accomplished with other concepts; ‘coordinated onset’, ‘balanced onset’, etc.
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19. Carlo Bassini; Art of Singing, (1856)
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Benefits:
1). Trains the intrinsic muscles responsible for opening/closing the glottis. These muscles are critical for firm closure - the source for ‘ring’ in the voice
2). Encourages proper balance of respiratory support forces
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6. Staccato
Garcia described it as being produced with a continuous air supply and with the larynx interrupting the air flow and releasing it immediately. It is not produced with the support mechanism.
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23. Luigi Lablache: Exercises for Soprano or Tenor (1852)
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24. Luigi Lablache: Exercises for Soprano or Tenor (1852)
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25. The Vocal Pedagogy Workshop - 2007
Benefits:
Trains intrinsic muscles “openers & closers”
Promotes ‘firm closure’
Creates ‘ring’ in the voice
Trains a fundamental musical gesture
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7. Marcato
Garcia described it as being produced with uninterrupted tone with modulated breath.
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27. Carlo Bassini: “Art of Singing” (1856)
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Combined:
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