1. Exploring Sound Waves and the Voice
Lauren Brendel, AP Physics 1

2. Sound Wave Basics
Sound is a mechanical, longitudinal wave with compressions and rarefactions…
But it can be displayed as a transverse wave for clearer understanding of its properties

3. Wave Qualities: Amplitude
Maximum height/depth of wave crest/trough above or below the equilibrium point
Determined by amount of air pressure
Relates to the volume of the sound: higher amplitude = louder sound

4. Wave Qualities: Frequency
Number of cycles of a wave that move past a set point in a given amount of time (Hz)
Determines pitch of a sound: higher frequency = higher pitch

5. Frequency and Harmony
Intervals in music have specific frequency ratios- this is what makes them sound consonant (pleasant) or dissonant (unpleasant or “conflicting”)
Common consonant interval ratios:
Octave- 2:1 (512 Hz and 256 Hz)
Third- 5:4 (320 Hz and 256 Hz)
Fourth- 4:3 (342 Hz and 256 Hz)
Fifth- 3:2 (384 Hz and 256 Hz)
Add audio clips/Logger pro?

6. Wave Qualities: Timbre
The distinct character, or tone color, of an instrument or voice that distinguishes it from other sounds, even at the same pitch and volume
Affected by two main factors:
Harmonics- fundamental frequency, dominant frequency, overtones (partials and harmonics), etc.
Envelope- attack time, decay, sustain, release

7. Exploring Timbre with the Voice
Unique as one voice can produce a large variety of vocal qualities
Professional “talkers” (actors, singers, radio hosts, public speakers, etc.), whether consciously or not, try to produce a desired timbre or tone quality that is most pleasing to their listeners/is most appropriate for the job at hand

8. Estill Voice Training developed by voice specialist Jo Estill in 1988
based on “deconstructing the process of vocal production into control of specific structures of the vocal mechanism”
combines methodical speech therapy techniques with artistry and creativity to produce consistent levels of vocal quality

9. Estill Figures for the Voice
There are 13 Estill voice figures:
True Vocal Folds: Onset/Offset Control
False Vocal Cords Control
True Vocal Folds: Body Cover Control
Thyroid Cartilage Control
Cricoid Cartilage Control
Larynx Control
Velum Control
Tongue Control
Aryepiglottic Spincter (AES) Control
Jaw Control
Lips Control
Head and Neck Control
Torso Control

10. By using different “settings” of various combinations of these figures, singers can create the six Estill vocal qualities.
What I have found: different pressure patterns (envelope) and strength of octave overtones (harmonics)

12. Estill Vocal Qualities: “Speech”
exactly what it sounds like- “talking on pitch”
found in styles of pop music, jazz, musical theatre (patter songs), etc.
Set-up: glottal onset, thick vocal folds, middle larynx, relaxed head and torso

13. What Does It Look Like?
actual note, 1st 2nd and 3rd octave

14. Estill Vocal Qualities: “Sob”
soft, dark sound- name comes from similarity to a deep crying noise
used when a more “mature” sound is desired- classical, older ballads, etc.
Set-up: thin vocal folds, low larynx, tilted thyroid, high tongue, anchored head and torso

15. What Does It Look Like?
almost no overtones, very pure

16. Estill Vocal Qualities: “Twang”
shouting, resonant sound that can be made to have a nasal quality as well
used for “safe shouting” and projecting effectively, musical theatre “character voices,” etc.
Set-up: narrow AES, high larynx, high tongue, tilted thyroid, thin vocal folds

17. What Does It Look Like?
1st and 2nd octaves up very prominent, 3rd and 4th represented

18. Estill Vocal Qualities: “Opera”
achieves strong opera or classical sound while maintaining a lot of control
set-up: combination of thin and thick folds, tilted thyroid, narrow AES, low larynx, compressed tongue, anchored head and torso

19. What Does It Look Like?
actual note very present, small overtone at 1st octave but not much past that

20. Estill Vocal Qualities: “Belt”
extremely powerful sound used in pop, gospel, R&B, and musical theatre styles; can be extremely harmful to the vocal cords if done incorrectly
set-up: glottal onset, thick vocal folds, tilted cricoid, narrow AES, high larynx, high tongue, anchored head and torso

21. What Does It Look Like?
overtone one octave up is more prominent than actual sing note; 2nd, 3rd, 4th octaves also present

22. Estill Vocal Qualities: “Falsetto”
breathy, high-pitched singing; most commonly associated with men but, in Estill, can be achieved by both genders
found in folk, jazz, pop, R&B, etc.
set-up: stiff vocal folds with aspirate on-set, middle larynx, relaxed head and torso

23. Notable Similarities
high larynx versus low larynx: presence of overtones
glottals and high larynx: “spikier” waves
“Sob” and “Opera”: similar set-ups, very similar overtones/wave shape; “Sob” is more pure

24. Questions?